The National Association of Decorative & Fine Arts Societies

RECORD OF CHURCH FURNISHINGS ST. JAMES THE LESS

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© National Association of Decorative & Fine Arts Societies

Charity Nos. 1089743 ( & Wales), SC039240 (Scotland) Company No. 4307984 (England

ST. JAMES THE LESS, DORNEY, BUCKINGHAMSHIRE IN THE

The NADFAS Record of Church Furnishings 2013 by the and Gerrards Cross Church Recorders Group commenced in 2010 during the incumbency of Rev. Lucy Holt.

The south western boundary of the of Dorney is formed by the River Thames, close to Dorney Reach, and the church of St. James the Less stands next to Dorney Court a medieval village manor house. The name Dorney means “Island of Bumble Bees”. The Danvers family held the Manor of Dorney, and the patronage of the Church, from the time of the Norman conquest until the end of the 13th century. The Manor changed hands several times after that until it was sold to Sir William Garrard in 1537. He became Lord Mayor of London and died in 1607. James Palmer of Wingham in Kent married William Garrard’s youngest daughter, Martha, and came to live at Dorney Court. The Palmer family have lived in the Manor from then until the present day. A church has existed here from an early date with the oldest part being the South wall of the Chancel with a small pre-Conquest window. The Chancel and the Nave are 12th century with the windows added in the 13th century. The brick tower containing six bells, with a hexagonal stair turret and diagonal buttresses, was added in c. 1530. The Garrard Chapel, which was added in the early 17th century, contains the grand monument to Sir William Garrard and his wife Elizabeth and their large family. There are two medieval wall paintings on the North side of the Chancel leading to the Garrard Chapel. The paintings were hidden until 1926 and were restored in 1932. There are also some signs of wall painting on the North side of the gallery which was added in 1634. The South Porch was added in 1661 by Roger and Barbara Palmer, to commemorate the birth of their first child. In the 19th century the old windows in the Nave were replaced by square- headed windows put in by Reverend Henry Palmer, Vicar from 1832-56, and the floor of the Nave raised at the same time.

INTRODUCTION Page 1 of 11 ST. JAMES THE LESS, DORNEY, BUCKINGHAMSHIRE

This plan has been adapted from the English Heritage 1912 Plan of St James the Less

INTRODUCTION Page 2 of 11 ST. JAMES THE LESS, DORNEY, BUCKINGHAMSHIRE

This record has been sponsored by Beaconsfield and Gerrards Cross Decorative and Fine Arts Societies.

ACKNOWLEDGMENTS

Particular thanks are due to the following for their generous help with this record.

Mr. Robbie Gibbs Mrs. Joy Richmond Mr. John Allen, Heraldry Mr. Colin Mantripp, Woodwork Mrs. J. Liney, member of the congregation Mr Peter Legge, Bells English Heritage

SECTION NUMBERING: 001 - 099 Memorials Janet Letchford & Jane Owen 200 - 299 Stonework Gail Hurst & Erica Stielow 300 - 399 Woodwork Jessie Cooper, Barbara Firman, Margaret Stevenson, Shirley Woefell 400 - 499 Textiles Patricia Whitehead & Paula Thomas 500 - 599 Paintings, etc Margaret Buller, Shirley Brown, Nicola Lowe 600 - 699 Library Bob Russell & Diane Brode 700 - 799 Windows Gillian Loveridge & Sue Macartney 800 - 899 Miscellaneous Doreen Jones & Wendy King Group Leaders Gillian Loveridge & Gillian Russell Photographer Daphne Scott Compiler Gillian Russell

An archival gold CD of digital photographs (No.27655) is held at the National Monument Record Centre at Swindon.

This record supersedes the NADFAS recording of 1974.

Terminology is mostly as used in Inside Churches - A Guide to Church Furnishings published by NADFAS 2001 and Recording a Church: An Illustrated Glossary by Thomas Cocke, Donald Findlay, Richard Halsey and Elizabeth Williamson, published by the Council for British Archaeology, 1996.

The condition of all items in this record appears to be satisfactory unless otherwise stated.

INTRODUCTION Page 3 of 11 ST. JAMES THE LESS, DORNEY, BUCKINGHAMSHIRE

Where possible the numbering of each Section starts at the East end of the church and continues clockwise around the church.

The numbers 1 - 10 in the left hand margin, under the item numbers, refer to:

1 Description 2 Material 3 Date 4 Measurements h. = height, w. = width, d. = depth, 1. = length, wt. = weight 5 Artist, Architect, Designer, Sculptor, Woodworker etc. 6 Manufacturer or Retailer 7 History of item and family, if relevant 8 Donor and date of gift 9 Memorial inscription or dedication 10 References

ABBREVIATIONS used in this Record:

a.e.g. all edges gilded ASB Alternative Service Book b born c century (14th c) or circa (c 1900) Caps, 1/c capitals, lower case lettering circum circumference cm centimetres cwt hundredweight d. died dau daughter diam. diameter Dr drawing g. gram Kg. kilogram lh, rh left and right hand n/a not ascertainable, not available N, S, E, W north, south, east, west p page Ph photograph (s) publ publisher sq square tr tracing(s) T and I Terrier and Inventory wt weight

INTRODUCTION Page 4 of 11 ST. JAMES THE LESS, DORNEY, BUCKINGHAMSHIRE

REFERENCE ABBREVIATIONS used in this record A&TR The Architectural & Topographical Record Bucks 1908 Ed. CRO L543.84 BGH Burke, The Genealogical and Heraldic History of Landed Gentry BIOS British Institute of Organ Studies Bucks Glass www.bucksstainedglass.org.uk BURKE Burke, Peerage, Baronetage and Knightage C.W.G.C. Commonwealth War Graves Commission Ch G 1 Dorney Church and Parish 1992 Ch G 2 St James the Less Dorney Church Guide 2009 COCKS Church Bells of Buckinghamshire, A.H. Cocks 1897 CRO County Record Office at Aylesbury CUP Cambridge University Press D Ct 1 Dorney Court, near Windsor 1991 D Ct 2 Dorney Court, Buckinghamshire, 2011 edition Goldsmiths Information provided by Worshipful Company of Goldsmiths Hall Dictionary of Subjects and Symbols in Art, J. Hall, pub. Murray 1984 HB Hatchments in Britain, Peter Simmons, ISD 1983 edition Jackson (Goldsmith) Jackson’s Silver and Gold Marks of England, Scotland and Ireland edited by Ian Pickford Jackson P E Jacksons’ Silver and Gold Marks. Ed. Ian Pickford. Antique Collectors’ Club Lipscombe History and Antiquities of the County of Buckinghamshire, George Lipscombe MD Vol III Mowbrays A. R. Mowbray & Co. Ltd. NPOR National Pipe Organ Register ORO Oxford Records Office (County and Diocese) OUP Oxford University Press Papworth Ordinary of British Armorials 1874 Pev Buildings of England - Buckinghamshire, 1994, N.K. Pevsner, Elizabeth Williamson and Geoffrey K. Brandwood RCHMS Inventory of Historical Monuments in Buckinghamshire, Vol I South RG Robbie Gibbs, Dorney Court Goldsmiths Information provided by Worshipful Company of Goldsmiths SSS Saints, Signs and Symbols, Ellwood Post, SPCH V and A Victoria and Albert Museum, Kensington, London

INTRODUCTION Page 5 of 11 ST. JAMES THE LESS, DORNEY, BUCKINGHAMSHIRE Vanpoulles Vanpoulles Ltd. Church Furnishings, 1 Old Lodge Lane, Purley CR5 4DG. Annual catalogues (58) VCH Victoria County History Vol III History of Buckinghamshire 1969 Edition J. Wippell & Co. Ltd., PO Box 1, 88 Buller Road, Wippell Exeter, EX4 1DQ

SUMMARY OF NAMES in this Record: excluding the list of War Memorials (002, 020), Bell Ringers (513G), Kneeler Dedication (409D), Incumbents (506, 515).

ADCOCK Mrs N 600A ALLEN Con 608 AMES Brigit Mrs 600A 707 808 AMES Clemency 809 AMES William Arthur Roger 400B(i) 707 ARMSTRONG Michael & Sarah 609 BAKEHOUSE Mr 133 BAKER Mr & Mrs Jeremy 613 BAKER Mrs Annie Alice 609 BARTLETT Mrs E.T. 118 BARTLETT Mrs 600A BATTYN Harriot 009 BEASLEY David 106 BELCHER Mrs E 020 600A BERRY Mrs BLUNDELL George Caroline 606 BONIN Frances (née Palmer) 501 BRYAN Lt. Richard Vernon 017 CHOLMONDELEY Lydia 002 COMYN Jeremiah 002 508 DELL Professor 604 DICKENS Major 600A DOBSON Rev. Philip H. Lord Bishop of 600A ELIOT 020 317A James & Elizabeth EUSTACE Percy Owen & Anne Mary 020 EVINS Michael 002 FESTING Michael & Mary 023 FESTING Michael & Margaret 023 FESTING William 023 FESTING Mary 023 FESTING Martha 0213 GARRARD William of Dorney 512 GARRARD 512

INTRODUCTION Page 6 of 11 ST. JAMES THE LESS, DORNEY, BUCKINGHAMSHIRE

GARRARD William 021 GARRARD Elizabeth 021 GARRARD John 021 GARRARD Henry 021 GARRARD William 021 GARRARD George 021 GARRARD Thomas 021 GARRARD William 021 GARRARD Henry 021 GARRARD Mary 021 GARRARD Anne 021 GARRARD Elizabeth 021 GARRARD Judith 021 GARRARD Jane 021 GARRARD Katherine 021 GARRARD Martha 021 GARRARD Katherine 021 GREENE Maurice 023 HAS SELL Alison 400C HAWORTH Mrs Herta A. 125 HEDDLE 106 Graham Richmond 605 HERBERT George 335B HOLT Rev. Lucy HOMER Julian 301 HOOD Edith Alice 006 HORNER Leonard 605 INGRAM Allen & Irene 002 KEDDERMINSTER John, Sir 021 KING George 604E 604H KING William Mr 604E LANE Geoffrey 104 600A LEGGE Peter 133 LESLIE Nancy 002 808 LINEY Mrs Jean 125 301 707 LONG Rosa Caroline (née Palmer) 019 George Henry LONG 018 Mrs 600A LOUGHNAN Mrs 327A LOWRY Thomas MARTIN James, Col. C.B. 133 MAXWELL Anthony John 103 MAXWELL Harry & Olive 103 McCARTNEY Miss 002 McSHEE Mr & Mrs G. L. 600A 600A MELVILLE Jennifer MELVILLE 600A

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MORIARTY Rev. J.H. MORIARTY Lt. J.H. OO1A 504 610705 705 MORIARTY Edith (née Moore) OO1A 001B 317 504 NETHERMILL Isabella OO1A NORTH Mary Ann 021 NORTHCLIFFE Lord 127 PALMER Lady Sarah, 006 111 PALMER Sir Charles 700 PALMER Philip 010 022 700 PALMER Sir Charles Harcourt 004 007 708 PALMER Sir John 011 016 501 PALMER Rev. Henry 321 503B 508 005 011 015 321 504 PALMER Sir Thomas 700 703 PALMER Dame Margaret 006 512 PALMER Sarah (née Garrard) 512 PALMER Col. Charles Henry Dayrell 005 PALMER Jane 006 133 303A 705 PALMER Lt Col P.D.S. & Family 008 018 214 PALMER Roger Henry 133 310 510 PALMER Anne PALMER Katherine (née Flood) 006 700 PALMER Lady Caroline (née Bonin) 003 PALMER John 006 022 PALMER Aim 011 015 PALMER Jane 012 321 PALMER Sir James 013 PALMER Wenna (née Jenner) 014 PALMERS The 321 512A PARKER Lois 006 PELHAM Margaret 133 PELHAM Herbert 608 PERYMAN David 512C POLE John 512C POOLE Arthur & Fanny 502 512 POOLMAN William & Mary, Arthur 002 020 POOLMAN L/Cpl P.C. 317 018 POWYS Lord William Henry 604E 604H QUEEN Victoria 604E QUEEN Adelaide, Dowager 600A QUEEN ELIZABETH HER MAJESTY 400B RAFFELL Petra 111 RICHARDSON Dr 106 400C 613 RICHMOND Joy RICHMOND Carole 106

INTRODUCTION Page 8 of 11 ST. JAMES THE LESS, DORNEY, BUCKINGHAMSHIRE RICHMOND Mr & Mrs Ken 608 RIDGEWAY Mrs N.K.R. 609 ROBB Angus & Elizabeth 102 ROBB Helene & Peter 101 102 ROBB John 312 ROUSE E.Clive 505 509 ROWE Thomas 021 SCOTT Thomas, Rev. 605A SEDDING Richard 502 SEDDING Mrs Elizabeth 507 SEDDING Mrs Parker 508 SELLICK Mrs 112 SHARP Rev Arthur Ainsworth 300 SIDDING Richard 133 SINGER John 507, 508 SMITH George 404A(1) STACEY Olive 400A STAYNER Brigadier 600A 708 STAYNER Mabel (née Palmer) 303A 708 STEVENS William & Alice 002 STEVENS Florence 002 STEVENSON Leader Cox 604 STONE Nicholas 512A THOMAS Tudor Ceredig & Florence 002 TRISTRAM E.W. 505 509 TRUMPER Joseph 507 VAN DYCK Sir Anthony 504 705 VILLIERS Barbara, Countess of Castlemaine 018 WATKINS E Stanley 504 WIGGS Elliot 510 WILLIAMSON Mrs 600A

SUMMARY OF ARTISTS, SCULPTORS, MANUFACTURERS, ETC: (excluding general printers and publishers)

Architect C. Howell 600B Architect P.H.Tilbury 603A, 603D Architect Nye F.R.I.B.A. 600A 600B, 600D, Architect D.E,Nye F.R.I.B.A. 002 Bell Founders Mears & Stanbank 133, 600B Bell Founders William, Eldridge I 133 Bell Founders Whitechapel 133 Bell Founders Ellis Knight of Reading 133 Bell Founders Josef Carter 133 Builder Breeze, Kenneth 002 600B

INTRODUCTION Page 9 of 11 ST. JAMES THE LESS, DORNEY, BUCKINGHAMSHIRE Builder Watton, Mr 304A 304B 600A Builder Henry (Fellows) 328A 328C 329 Builder Fassnidge 600A Builders H. Burfoot 325 600B Carpenter Magee, S 602 Craftsman Homer, Julian 301 Craftsman Mr Watton 304A 304B 306 Designer Maile & Sons 001A 600B Designer Vallance 305 600A Designer Hook & Dixon-Spain 306 600B Designer Peter William Abrahams, Fr 613 Designer Mr Vallance 305 Electrician Poole, Brian 803 Electrician Rashleigh Phipps 600A Embroiderer Chant, Christine 400C Embroiderer Dollimore, John 400C Embroiderer Hayton, Gill 400C 409D Embroiderer Liney, Jean 400C Embroiderer Pepler, Muriel 400C Embroiderer Tretheway, Mena 400C Embroiderer Wood-Dow, Angi 400C Embroiderer Halstead, Raya 400C Embroiderer Wooler, Audrey 409D Embroiderer Perryman, Margeret 409D Embroiderer Boyle, Sheila 409D Embroiderer Hatton 409D Engineer S.T. Engineering, Dorney 132A Framer J. Manley Gallery 504 Glazier Kees Glaziers, Maidenhead 706, 710 Glazier Chapel Studios 602 Memorial Brass Engravers Gawthorp & Sons, London 006 Organ Makers Messrs Bishop of London 800 Pottery Newlyn, Cornwall 808 Silversmith Danbe(Daube), Robert 100 Silversmith Henwood Decorative Metal 101, 102 Studios Silversmith Brook & Sons 103 Silversmith Barnsley, E.S. & Co 104 Silversmith James Deakin & Sons Ltd 105 Silversmith Mowbray & Co. Ltd 106 Silversmith Matthews, Elizabeth 106 Silversmith Keith & Co., London 107 Stained Glass Designer Hardman, John 700 Stained Glass Designer Watkins, E. Stanley 705 600B Stained Glass Designer Clayden, Mrs Lynda 707

INTRODUCTION Page 10 of 11 ST. JAMES THE LESS, DORNEY, BUCKINGHAMSHIRE

Stained Glass Designer Bradley, Mr Raymond N. 600A 600B 708 Stonemason Janssen (Johnson), Nicholas 021 Textiles C.S.J.B. Clewer Convent 400A 400B(i) Textiles Wippell 400A 401A(ii) 401B 401 C, 404C(i) 404C(ii) Textiles Vanpoulles 401D Textiles Vanheems & Wheeler 402C Textiles Jacksons, Hebden Bridge 409D 409F 409G Textiles Christian Evidence Societ 401H Textiles E.T. Sherlock 402D Woodcarver Mantripp, Colin 335A 335B INTRODUCTION Page 11 of 11 ST. JAMES THE LESS, DORNEY, BUCKINGHAMSHIRE

Interior View West to East

INTRODUCTION ST. JAMES THE LESS, DORNEY, BUCKINGHAMSHIRE

Interior View East to West

INTRODUCTION ST. JAMES THE LESS, DORNEY, BUCKINGHAMSHIRE

Interior View West to East circa 1912

Interior View East to West circa 1912

INTRODUCTION ST. JAMES THE LESS, DORNEY, MEMORIALS BUCKINGHAMSHIRE

The condition of items in this Section appears to be satisfactory unless otherwise stated.

PLAN

MEMORIALS Page 1 of 29 ST. JAMES THE LESS, DORNEY, MEMORIALS BUCKINGHAMSHIRE

001A WALL TABLET Ph Lieutenant James Henry NAVE, S wall Moriarty, R.G.A., d 1915

1 A shaped grey stone tablet, surmounted by a cornice and triangular tympanum, sitting on a moulded shelf. On the face of the tympanum the arms of the Moriarty family (ref a) are carved : Blazon: Argent, an eagle displayed Sable Crest: An armoured arm embowed holding in the hand a sword Motto: Scandit sublimia virtus Translation: Virtue scales great heights. Under the shelf is a curved apron upon which is carved, in relief, the cap badge of the Royal Artillery which depicts a rifled muzzle loader of about 1871, surmounted by a crown with scrolls above and below containing the Royal Artillary Garrison motto “UBIQUE, QUO FAS ET GLORIA DUCUNT” (ref b). Translation : Everywhere:wherever right and glory lead. The inscription is in incised, gouged, classical roman caps. The tablet is mounted on a black marble ground which is affixed to the wall. 2 Stone, marble 3 1st quarter 20th c 4 Tablet : max h. 60 x max w. 66∙5 x max d. 5∙5cm Ground : max h. 75 x max w. 81 x max d. 4∙5cm 5-6 Maile and Son, Euston Road, London. (ref c) 7-8 James Henry Moriarty was the only son of Rev. James, rector of St James the Less (item 507), and Mrs Edith Moriarty, née Moore. He was born in Southsea, Hants. in 1893 and by 1901 he was living, age 8, in Portsmouth with his parents, two older sisters and two servants, where his father was chaplain and “Naval instructor” in the Church of England (ref d). James was wounded during the First World War and while recuperating at Dorney designed a window (item 705) for the church. He was returned to the theatre of war and the Royal Artillery Garrison, and was killed on October 12th 1915, aged 22. He is buried in Grave II K 7 , Bethune Cemetery, France (ref e). The quotation on his memorial, under the inscription, is from the Bible – I Peter 2:7

MEMORIALS Page 2 of 29 ST. JAMES THE LESS, DORNEY, MEMORIALS BUCKINGHAMSHIRE

9 SACRED TO THE MEMORY OF A GOOD SOLDIER OF JESUS CHRIST LIEUT. JAMES HENRY MORIARTY, R.G.A.

(ONLY SON OF THE VICAR OF THIS PARISH.) SERVED IN FRANCE WITH 2ND SIEGE BATTERY IN 1914; MENTIONED IN DESPATCHES; WOUNDED; AND WITH 18TH SIEGE BATTERY IN 1915; KILLED OCTOBER 12TH 1915. BURIED AT BETHUNE; AGED 22 YEARS AND 9 MONTHS. ——— FEAR GOD, HONOUR THE KING. 10 a) ancestry.co.uk - internet surname database b) militaryheritage.co.uk c) ORO DIOC/1420 Faculty 1920 d) Census record 1901 e) C.W.G.C.

001B WALL CROSS Ph 1st Lieut. J.H.Moriarty d 1915 GARRARD CHAPEL S. wall

1 A wooden latin cross with a pointed foot, attached to the wall with a tin bracket, 2 screws and 1 nail. The inscription is on metal strips attached to the cross with 9 nails. The inscription is stamped from the reverse side in roman caps. There are worm holes and wood missing from the lower part of the cross. 1 nail is also missing. 2 Oak, tin, iron 3 1st quarter 20th c 4 h. 130 x w. 39∙5 x d. 2∙5cm 5-6 - 7 This cross was the original marker for Lieutenant Moriarty’s grave in Bethune, France. It was open to families to claim battlefield crosses on the exhumation of the body for proper burial, the government paying for its return to England. Lieutenant Moriarty is buried in Bethune Town Cemetery, Pas de Calais, France. There are other memorials to Lieut. J. H. Moriarty in the church (see items 020 and 705). 8 -

MEMORIALS Page 3 of 29 ST. JAMES THE LESS, DORNEY, MEMORIALS BUCKINGHAMSHIRE

9 GRO LIEUTENANT J H MORIARTY ROYAL GARRISON ARTILLERY KILLED IN ACTION 12TH OCT 1915 / 10 -

002 WAR MEMORIAL 1939 - 45 Ph NAVE, S wall

1 A varnished, rectangular board framed with a reverse ogee moulding and affixed to the wall. At the head of the board is a gold-coloured painted, metal, Latin cross with splayed ends. The dates 1939 and 1945 are inscribed on opposite sides of the cross painted red. The memorial inscription is in gouged and painted gold-colour classical roman caps, names painted in green and black gouged roman caps and l/c. 2 Weathered oak, brass, paint. 3 Mid 20th c (ref a) 4 h. 76 x w. 45∙25 x max d. 4∙5cm 5 D. E. Nye, FRIBA, 7 Victoria Street, London SW1 (ref a) 6 Kenneth Breeze (ref a). 7 2ND Lieutenant Richard Vernon Cholmondeley was with the 2nd battalion of the Royal Scots Fusiliers when he was killed, on the 18th May 1940, at the age of 30. He is buried in grave V.C.2, Bedford House Cemetery in Ieper, West-Vlaanderen, Belgium. He was married to Margaret Chomondeley of Dorney, Bucks (ref b). Colonel Andrew D. Clinch was with the Kings Own Yorkshire Light Infantry when he was killed on 24th April 1942, aged 39. He is buried in grave 5 3 6 Pembroke Military Cemetery in Malta (ref b). Lance Corporal Percy Thomas Robert Evins was with the 1st Battalion of the Royal Sussex Regiment when he was killed on 12th July 1944, at the age of 20. He is buried in grave IV D 15 in the War Cemetery in Arezzo, Italy. He was the son of Percy Owen and Annie Mary Evins of Dorney, Bucks (ref b). Sergeant Peter Arthur Ingram was with the Royal Air Force Volunteer Reserve, 106 Squadron when he was killed on the 8th November 1941, at the age of 19. His name is on Panel 46 of the Runnymede Memorial for R.A.F. personnel lost in World War II with no known grave. He was the son of John Leonard and Linda Ingram and the foster son of Allen and Irene Mary Inman of , Bucks (ref b). Wing Commander Reginald Frederick Stuart Leslie was with the Royal Air Force when he was killed on the 11th July 1943, at the age of 52. He was awarded the Distinguished Service Cross, the Distinguished Flying Cross and the Air Force Cross. He is buried in grave 13 D 20 in Medjez-el-Bab War Cemetery Tunisia. He was the son of Frederick and Emily Leslie and the husband of Nancy Leslie of Chelsea, London (ref b).

MEMORIALS Page 4 of 29 ST. JAMES THE LESS, DORNEY, MEMORIALS BUCKINGHAMSHIRE

Lieutenant John Pendennis Dunning McCartney was with Prince Albert Victor’s own Cavalry – the Indian armoured Corps when he died, age 22 on the 18th April 1945. His name is on Panel 28a Taukkyan War Cemetery, Myannmar , Burma. His parents were Harry and Olive McCartney of Falmouth, Cornwall (ref b). He attended Haileybury College and his name appears on the college register of “1862- 1994 Pupils of Imperial Service College who died in service of their country” (ref c). Private William George Poole was with the 1st Battalion of the Oxford and Bucks Light Infantry, when he was killed on 4th March 1945, at the age of 21. He is buried in grave 50 E 6 Reichswald Forest War Cemetery, Germany. He was the son of Arthur and Fanny Poole of Taplow, Bucks (ref b). Gunner Benjamin Rolfe was with the Oxford and Bucks Light Infantry, 112th The West Somerset Yeomanry Field Regiment, Royal Artillery when he was killed on 24th September 1944, at the age of 26. He is buried in grave 8 B 17 Arnhem Oosterbeek War Cemetery, Netherlands. He was the son of James and Mammie Rolfe and husband of Margaret Rolfe of Taplow, Bucks. (ref b). Lance Corporal Edwin Alan Sprackling was with the Royal Army Service Corps, 512 Army Troops Company when he died on 24th April 1945, age unknown. He is buried in grave 7 C 2 Hanover War Cemetery, Germany (ref b). Sergeant Harold Stevens was with the Royal Air Force when he died on 28th January 1941, age unknown. His name is on Column 244 of the Alamein memorial, Egypt. He was the son of William and Alice Stevens and husband of Florence Stevens of Harrogate, Yorkshire (ref b). Harold Tudor Thomas was an Ordinary Telegraphist with the Royal Navy in the trawler H.M.S. “Ullswater” when he died 19th November 1942, age 22. His name appears number 59.3 on the the Chatham Memorial, Kent. He was the son of Tudor Ceredig and Florence Thomas of Denbigh (ref b). Captain Alan Douglas Comyn was with the Royal Marines, 40 R.M. Commando when he died, age unknown on the 19th August 1942. His name appears on panel 93 of the Portsmouth Naval Memorial, Hampshire. He was the husband of Lydia Comyn of Wychling, Kent (ref b). 8 The cost was defrayed by public subscription (ref a).

MEMORIALS Page 5 of 29 ST. JAMES THE LESS, DORNEY, MEMORIALS BUCKINGHAMSHIRE

9 1939  1945 IN LOVING MEMORY OF THE MEN OF THIS PARISH WHO DIED FOR THEIR COUNTRY

2nd/Lt. Richard V.Cholmondeley Royal Scots Fusiliers. 18 – 5 – 40 Col. Andrew D. Clinch K.O.Y.L.I. 24 – 4 - 42 L/Cpl. Percy T.R.Evins Royal Sussex Regt. 12 - 7 - 44 Sgt. Peter A. Ingram R.A.F.V.R. 8 – 11 - 41 W/Cdr.Reginald F.S. Leslie D.S.C., D.F.C, A.F.C. R.A.F. 11 – 7 - 43 Lieut. John P. D. McCartney P.A.V.O. Cavalry I.A.C. 18 – 4 - 45 Pte. William G. Poole Oxford & Bucks Light Inf. 4 – 3 - 45 Gnr. Benjamin Rolfe R.A. 24 – 9 - 44 L/Cpl. Edwin A. Sprackling R.A.S.C. 24 – 4 - 45 Sgt. Harold Stevens R.A.F. 28-1-41 Ord/Tel. Harold T. Thomas R.N. 19-11-42 Capt. Alan D. Comyn R.M. 19-8-42

10 a) ORO DIOC/1420 Faculty 1952 b) C.W.G.C. c) Haileybury College records

MEMORIALS Page 6 of 29 ST. JAMES THE LESS, DORNEY, MEMORIALS BUCKINGHAMSHIRE

Items 003 –017 are displayed on the walls of the Family Box Pew (item 320) and arranged as shown on the plans below.

Plan showing position of coffin plates on N wall items 003-014

003 COFFIN PLATE Anne Palmer d 1774

1 A rectangular lead plaque affixed to the box pew wall with 2 screws. The border is composed of zigzags and bifurcated four leaved flowers and fillet fluting in the corners. Inside this is a frame with festoons and scrolls. Above the cartouche containing the inscription is a winged angel blowing a horn, seated beside an urn and surrounded by scrolls, leaves, flowers and rays of light. Below the cartouche is a cherub’s head. All this is repoussé work. The inscription is in incised, flourished, gothic caps and l/c, and flourished copperplate caps and l/c. The plate is worn and bent in places. There are 12 screws missing. 2 Lead, iron 3 1774 4 h. 44∙5 x w. 34 x d. 0∙5cm 5-6 - 7 The word “same” would indicate that this and coffin plate (009) were made by the same maker. The styles and patterns are also similar. Anne, who was born in 1711, was the mother of Harriot Battyn (009) who had died 6 years earlier, and widow of Sir Charles Palmer, the fifth baronet, who was born in 1706 and died in 1773 (ref a). 8 -

MEMORIALS Page 7 of 29 ST. JAMES THE LESS, DORNEY, MEMORIALS BUCKINGHAMSHIRE

9 Same Anne Palmer widow of Sir Chas Palmer Baronet Died 20th May 1774 Aged 63 Years. 10 a) D Ct 2 p.12

004 COFFIN PLATE Philip Palmer d 1780

1 A rectangular tin tablet affixed to the box pew wall with 3 nails. Above the inscription is a spade shield, with palm leaves on each side, with the arms of the Palmer family and its motto on a scroll. Untinctured. Blazon: Or two bars Gules each charged with three trefoils slipped Argent, in chief a greyhound courant Sable. Motto: PALMA VIRTUTI Translation: Palm of Virtue The inscription is incised roman caps and sloped roman caps. The coffin plate is worn and has a crack in the lower edge. There are 9 nails missing. 2 Tin, iron 3 1780 4 h. 43∙5 x w. 33∙25 x d. 0∙2cm 5-8 - 9 PHILIP PALMER, ESQR: DIED 3RD SEPTR 1780. IN THE 71ST YEAR OF HIS AGE. 10 -

005 COFFIN PLATE Ph Roger Henry Palmer d 1837

1 A spade tin shield affixed to the box pew wall with 2 nails. The shield has a border of stem and leaves with two vertical stems at the base. Above the inscription is a seven pointed crown. The inscription is in gouged shaded roman caps, flourished copperplate caps and l/c. There are 2 nails missing.

MEMORIALS Page 8 of 29 ST. JAMES THE LESS, DORNEY, MEMORIALS BUCKINGHAMSHIRE

2 Tin, iron 3 1837 4 h. 26∙5 x w. 22∙.5 x d. 0∙2cm 5-6 - 7 Roger Henry was born in 1831, the second son of Rev Henry Palmer and his wife, Sarah, née Garrard. He died at the age of 6 years (item 700). 8 - 9 ROGER HENRY PALMER Died Feby, 4 1837 Aged 6 Years 10 -

006 WALL TABLET Ph Wenna Palmer d 1919

1 A rectangular brass tablet affixed to box pew wall with 4 screws. Above the inscription are the arms of the Palmer family. Untinctured. Blazon: Or two bars Gules charged with three trefoils Argent; in chief a greyhound courant Sable, impaling Azure a lion rampant Argent crowned ducally Or Supporters: Two lions rampant guardant Crest: Demi-panther guardant holding in its paw a palm branch. Motto: PALMA VIRTUTI Translation: Palm of Virtue The inscription is incised in gothic caps and l/c, and uncial caps, all gouged and filled in red and black. There is a maker’s mark in the lower lh corner of the tablet. 2 Cologne brass, paint 3 1st quarter 20th c 4 h. 46 x w. 66 x d. 0∙5cm 5 - 6 Gawthorp and Sons, London. 7 Wenna Jenner was born in Umballa, India in 1878. In 1901 she was living at Dorney Court, aged 22, with her mother-in-law, Katherine Palmer, aged 57, her aunt Edith Alice Hood, aged 60 and 6 servants. She was married to Colonel Charles Henry Dayrell Palmer (ref a). Wenna was responsible for finding the long lost Palmer Needlework (ref b). This depicted the lives of 16th century Palmer knights. Lord Northcliffe had obtained it around 1901 and he kindly gave it to Wenna in order to restore it to Dorney Court. It had probably been a wedding present to Thomas Palmer, born in 1598 and married in 1624, from his widowed mother or grandmother (ref b).

MEMORIALS Page 9 of 29 ST. JAMES THE LESS, DORNEY, MEMORIALS BUCKINGHAMSHIRE

Wenna worked with the Voluntary Aid Detachment Bucks 34 during World War 1, and in 1918 she received the R.S.P.C.A. Silver Medal for rescuing a drowning horse on Dorney Common. 8 - 9 To the beloved memory of WENNA, wife of Colonel C.H.D. Palmer, of Dorney, and elder daughter of Dame Flora Jenner, died January 1st 1919, aged 40. She worked devotedly in her Country’s cause as member of V.A.D. Bucks 34. In 1918 she was awarded the Silver Medal of the R.S.P.C.A. for rescuing a horse from drowning on Dorney Common. 10 a) Census record 1901 b) D Ct 1 p.5 & 13.

007 COFFIN PLATE Philip Palmer d 1799

1 A rectangular tin coffin plate affixed to the box pew wall with 3 nails. Above the inscription, on a shield supported on each side by a palm branch, is an achievement of the arms of the Palmer family, under which is a scroll with the family motto. Untinctured. Blazon: Or two bars Gules each charged with three trefoils slipped Argent, in chief a greyhound courant Sable. Motto: PALMA VIRTUTI Translation: Palm of Virtue The inscription is in gouged roman caps, shaded sloped roman caps, flourished italic caps and l/c. There are flourishes around the word “ESQr” and the date. There are 7 nails missing. 2 Tin, iron 3 1799 4 h. 40∙75 x w. 30∙5 x d. 0∙2cm 5-8 -

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9 PHILIP PALMER ESQR Died 1st. July 1799 Aged 65 Years. 10 -

008 COFFIN PLATE Ph Jane Palmer d 1782

1 A rectangular tin coffin plate affixed to the box pew wall with 2 nails. Above the inscription is a hatchment with the arms of Jane Palmer. Untinctured. Blazon: Dexter Sable two bars Gules each charged with three trefoils slipped Argent with a crescent for difference, in chief a greyhound courant Sable. Sinister Sable embattled per fess three martlets and a trefoil. The inscription is in roman caps, incised and painted white. There are 4 nails missing. 2 Tin, iron, paint 3 1782 4 h. 43∙25 x w. 33∙25 x d. 0∙2cm 5-6 - 7 Jane’s husband, who predeceased her, was a second son, indicated by the crescent. 8 - 9 MRS JANE PALMER, DIED 3 RD NOVR 1782. AGED 78 YEARS. 10 -

009 COFFIN PLATE Ph Harriot Battyn d 1768

1 A rectangular lead coffin plate affixed to the wall of the box pew with 2 screws. The border is composed of gadrooning, scrolls and foliation. Within the border is a cartouche, containing the inscription, with strapwork, a flower in each corner and leaves. All this is done in repoussé work. The inscription is in copperplate caps and

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l/c. The plate, of similar style to (003), is chipped, cracked and bent. There are 12 screws missing. 2 Lead, iron 3 1768 4 h. 39 x w. 31 x max d. 0∙5cm 5-6 - 7 Harriot was born Harriot Palmer in 1730, the daughter of Sir Charles, 5th baronet and Lady Anne Palmer (003). She married William Battyn and died at the age of 38. Her coffin plate is similar to that of her mother who died 6 years after her. 8 - 9 Mrs Harriot Battyn Died 16 Aug. 1768. Aged 38 Years 10 -

010 COFFIN PLATE Charles Palmer d 1810

1 A rectangular tin coffin plate affixed to the box pew wall with 2 nails. Above the inscription, on a shield supported on each side by a palm leaf, is an achievement of the arms of the Palmer family with a crest which is indistinguishable. Untinctured. Blazon: Or two bars Gules each charged with three trefoils slipped Argent, in chief a greyhound courant Sable. The inscription is in roman caps and sloped roman caps, incised and filled in white. The coffin plate is very worn in places and 8 nails are missing. 2 Tin, iron, paint 3 1810 4 h. 46 x w. 35∙25 x d 0∙2cm 5-8 - 9 CHARLES PALMER ESQR DIED 26TH AUGST 1810 AGED 68 YEARS. 10 -

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011 COFFIN PLATE Lady Caroline Palmer d 1851

1 A trapezium shaped tin coffin plate affixed to the box pew wall with 8 nails. The inscription is in chisel shaded gothic caps and l/c, copperplate caps and l/c and shaded roman caps, all incised and filled in black. The plate is very worn. 2 Tin, iron, paint 3 1851 4 h. 40∙5 x w. 30∙5 x d. 0∙2cm 5-6 - 7 Lady Caroline Palmer was born in 1771 in Clifton, Somerset (ref a), and was the widow of Charles Harcourt Palmer (016) (ref b). She was the mother of John Palmer (012) who died unmarried and also Henry Palmer (015) who became the vicar of Dorney (ref a). 8 - 9 Lady Caroline Palmer Died 12 Dec 1851 AGED 80 YEARS 10 a) Census record 1851 b) D Ct 2 p.12

012 COFFIN PLATE Ph John Palmer d 1852

1 A trapezium shaped tin coffin plate affixed to the box pew wall with 8 nails. Scrolls surround the inscription which is in copperplate caps and l/c, and sloped roman caps and l/c, all incised and filled in white. 2 Tin, iron, paint 3 1852 4 h. 39 x max w. 32∙25 x d. 0∙2cm 5-6 - 7 In 1851 John, unmarried and 56 years old was living at Dorney Court with his mother, Lady Caroline Palmer (011), his cousin Caroline aged 14 and 4 servants. (ref a). He was the son of Charles Harcourt Palmer (016) and brother of Henry Palmer (015), Vicar of Dorney (ref a). 8 -

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9 John Palmer DIED AUGUST . 24 th 1852 Aged 59 Years. 10 a) Census record 1851

013 COFFIN PLATE Anne Palmer d 1847

1 A trapezium shaped tin coffin plate affixed to the box pew wall with 7 nails. There is a narrow line border within which are scrolls and the inscription. This is in chisel shaded roman caps, chisel sloped roman caps and gothic shaded caps and l/c. There is 1 nail missing. 2 Tin, iron 3 1847 4 h. 39∙25 x max w. 29∙25 x d. 0∙2cm 5-6 - 7 Anne was the wife of Philip Palmer Esq., and mother of Frances (017) born in 1821. After she died, Philip married again and in 1851 was living with his wife Caroline and a son John aged 19 (ref a). 8 - 9 ANNE, THE WIFE OF PHILIP PALMER ESQR , th Died 6 Jany. 1847 AGED 45 YEARS 10 a) Census records 1841 and 1851

014 COFFIN PLATE Jane Palmer d 1825

1 A rectangular tin coffin plate affixed to the wall of the box pew with 2 nails. There is a lozenge bearing the arms of the Palmer family above two palm leaves. Untinctured. Blazon: Or two bars Gules each charged with three trefoils slipped Argent, in chief a greyhound courant Sable. Underneath is the inscription which is in roman caps and sloping roman caps, both incised and filled in black. The plate is very worn and there are 6 nails missing. 2 Tin, iron, paint 3 1825

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4 h. 40∙5 x w. 30∙5 x d. 0∙2cm 5-8 - 9 JANE PALMER DIED 18TH JUNE 1825 AGED 90 YEARS. 10 -

Plan showing position of coffin plates (items 015 – 017) on E wall of box pew

015 COFFIN PLATE Ph Henry Palmer d 1865

1 A trapezium shaped tin coffin plate affixed to the wall of the box pew with 7 nails. The inscription is in copperplate caps and l/c, gothic chisel shaded caps and l/c, roman outlined caps sans serif and roman sloped chisel shaded caps, all incised. 1 nail is missing. 2 Tin, iron 3 1865 4 h. 39∙5 x max w. 30∙75 x d. 0∙2cm 5-6 - 7 The Rev. Henry Palmer was born 31st March 1797, the second son of Sir Charles Harcourt Palmer (016) and Lady Caroline, née Bonin (011). His older brother, John (012) died unmarried and Henry inherited the Dorney estates and lived at Dorney Court with his wife Sarah, née Garrard, and his children Charles James (023), Roger Henry (005) and Rosa Caroline (019) (ref a). He was a great traveller and also oversaw the alterations to the church. He was vicar of Dorney from 1832-1856. The floor of the nave was raised at this time (ref b). He inserted the square-headed windows (item 703, 704 & 709) in the S & N walls of the church to allow more light inside the building (ref c).

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8 - 9 The Revd Henry Palmer. OF DORNEY COURT. BORN 31ST MARCH, 1797 TH DIED 20 NOVR 1865 Aged 68 years 10 a) Census record 1861 b) A.&T.R. p.87 c) Ch G 1 p.5

016 COFFIN PLATE Sir Charles Harcourt Palmer, Bart. d 1838

1 A trapezium shaped tin coffin plate affixed to the box pew wall with 2 nails. Above the inscription are the incised, chisel shaded arms of the Palmer family, a shield with supporters, crest and motto. Untinctured. Blazon: Or two bars Gules each charged with three trefoils slipped Argent, in chief a greyhound courant Sable. Supporters: two lions rampant guardant Crest: demi-panther guardant holding in its paws a palm branch. Motto: PALMA VIRTUTI Translation: Palm of Virtue The inscription is in chisel shaded roman sans serif caps, gothic caps and l/c, chisel shaded sloped roman caps and copperplate caps and l/c, all incised, with flourishes around the words “Bart” and the date. 6 nails are missing. 2 Tin, iron 3 1838 4 h. 43 x max w. 32∙5 x d 0∙2cm 5-6 - 7 Sir Charles Harcourt Palmer was born in 1760. He was the 6th baronet and lived for a time at Powderham Castle. He sold the Welsh estates. His marriage to his cousin, Caroline Bonin (011), was never established with the Herald’s College and the Baronetcy became extinct (ref a). He was a J.P. and Deputy Lieutenant for Bucks (ref a). He was the father of John (012), Henry (015) (ref b) and Rosa Caroline (019) (ref c). There is a hatchment for Sir Charles in the nave on the S wall (item 501). 8 -

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9 SIR CHARLES HARCOURT PALMER , Bart. TH DIED 19 FEBY 1838. In his 78th year. 10 a) D Ct 1 p.11 b) Census record 1851 c) Census record 1861

017 COFFIN PLATE Ph Frances Bryan d 1844

1 A trapezium shaped tin coffin plate affixed to the wall of the box pew with 2 screws. The inscription is embellished with flourished scrolls and is in outlined and chisel shaded roman caps, gothic caps and l/c, copperplate caps and l/c, all incised. There is archaic use of I for J. 4 screws are missing. 2 Tin, iron. 3 1844 4 h. 41 x max w. 31 x d. 0∙2cm 5-6 - 7 Frances Bryan was born Frances Palmer, the daughter of Philip Palmer Esq and his wife Anne (013). In 1841 she was living at Dorney Court aged 20 with her parents. She married James B.Bryan and had a son, Robert born in 1840, and she gave birth to a daughter Annie Caroline late summer 1844 and died in October 1844 at the age of 23. James was a doctor and after Frances’ death he married again and was living in Slough, Bucks with his new wife Eliza, Annie age 6, Robert age 11, a step-daughter Fanny age 15 and 8 servants (ref a). 8 - 9 FRANCES BRYAN, Wife of I.B. BRYAN, M.D. th,, Died 16 Octr, 1844, in her 24th, Year. 10 a) Census records 1841 and 1851

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018 WALL MONUMENT Ph Jane Palmer d 1663 CHANCEL, N wall

1 A large black, brown, white and gilded mural monument with black columns and an inscription set in an oval garland with strapwork. At the apex is a cartouche within which is a lozenge containing the arms of the Palmer family, surrounded by palm leaves and two small festoons, one on each side. Blazon: Or two bars Gules each charged with three trefoils in chief a greyhound courant Sable.

Two black rounded columns with crocket capitals support a broken, segmented pediment. On each side is a boat shaped vessel with scrolled edges containing flames, signifying life (ref a). At the base of the cartouche are two wings facing each other. In the centre of the entablature, beneath the cartouche is a rectangular tablet containing the motto. On either side of the tablet is a palm leaf signifying victory over death (ref a) and foliage. Between the pillars, mounted on a brown and white ground is the inscription on an oval tablet surrounded by a husked garland. At the apex is a winged angel weeping, signifying grief (ref a) and there is foliage in each corner. The background is edged on the sides with palm leaves, scrolls, beads and husks. The apron consists of a swag, draped over a central skull with scrolls and lobed finials. The skull is placed on a gadrooned urn with a curved base and ball with palm leaves. The main inscription is in incised roman caps with archaic spelling (I for J and V for U) and no punctuation. The motto is in modified slanted roman caps and l/c, incised and painted white : Mors mihi lucrum. Translation : Death is my reward (ref b). 2 Marble, Touche, paint, gilding 3 3rd quarter 17th c 4 h. 244 x w. 150 x d. 27cm 5-6 - 7 Jane was born in approx 1652, the youngest daughter of Sir James Palmer, Knight of the Bedchamber to King James 1, and his second wife, Katherine née Herbert who was the daughter of the Rt. Hon. William Herbert, Lord Powys of Powys Castle in the county of Montgomery and the Lady Elinor Piercey, his wife , daughter to Henry Earl of Northumberland (ref c). Jane was sister to Roger Palmer who married Barbara Villiers, Countess of Castlemaine, a one time mistress of Charles 1 (ref d). 8 -

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9 NEARE THIS TOMBE LYETH INTERRED THE BODY OF IANE PALMER WHO DIED YE 4H OF AVGVST IN THE YEARE OF OVR LORD 1663 AT THE AGE OF 21 YEARES YOVNGEST DAVGHTER TO SR IAMES PALMER OF DORNEY IN THE T E COVNTY OF BVCKS K & OF Y BEDCHAMBER TO KING IAMES GENTLEMAN VSHER TO KING CHARLES YE FIRST & CHANCELLOR OF THE HONBLE ORDER OF THE GARTER AND OF DAME KATHERINE HIS WIFE ELDEST DAVGHTER TO YE RIGHT HONBLE Wm HERBERT LORD POWYS OF POWYS CASTLE IN YE COVNTY OF MOVNTGOMERY AND THE LADY ELINOR PEIRCY HIS WIFE DAVGHTER TO HENRY EARLE OF NORTHVMBERLAND 10 a) ‘Symbolism in Grave Art’, Petrina Evans p.12 b) Collins Latin Dictionary c) Lipscombe, p.275 d) D Ct 1 p.12

019 WALL TABLET Ph Rosa Caroline Long d 1888 CHANCEL, E wall

1 A lozenge shaped wall tablet, painted gold on metal affixed to a lozenge shaped black marble ground, which is affixed to the wall. Within a black and gold border of scrolls with foliage, and a red circle with a gold patée cross in each corner is the inscription which is painted in red gothic caps and black gothic l/c with some flourished gothic letters. 2 Marble, metal, paint 3 Last quarter 19th c 4 Ground: max h. 90∙5 x max w. 90∙5 x d. 3∙5cm Tablet: max h. 75∙5 x max w. 75∙.5 x d. 0∙25cm 5-6 -

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7 Rosa was born on 11th November 1829 in Addlestone, Surrey. She was the daughter of Rev. Henry Palmer (015) and his wife Sarah, née Garrard, and the sister of Charles James Palmer (023) and Roger Henry Palmer (005). She married George Henry Long, who was a solicitor and magistrate in Windsor (ref a). 8 - 9 In loving memory of ROSA CAROLINE LONG Wife of George Henry Long Esq. of Windsor only Daughter of The Revd Sir Henry Palmer of Dorney. th Born 11 NovR 1829 Died 26th May 1888 10 a) Census record 1871

020 WAR MEMORIAL 1914-18 Ph GARRARD CHAPEL, LITANY DESK

1 Rectangular brass tablet set in the top of the litany desk (item 317). The inscription is in incised roman caps, painted in black. 2 Brass, paint, oak, pine, carpet 3 1st quarter 20th c 4 Plate: h. 21 x w. 37∙5cm 5-6 - 7 J.H. Moriarty – see (001) Percy Charles Poolman was a Lance Corporal in the 9th North Irish Horse Battalion of the Royal Irish Fusiliers. He died on the 1st October 1918, aged 26 years, and is buried in Grave 1V.F.23 in Dadizeele New British Cemetery in Moorslede, West- Vlaanderen, Belgium (ref a). He was the son of William, a shepherd, and Mary Poolman of Dorney, and the brother of Arthur Poolman (ref b). Bertie Belcher was a Private in the 1st Battalion of the Oxford and Bucks Light Infantry. He died on 14th of July 1917, aged 27 years, and is buried in Grave X111.K.I. in Amara War Cemetery in Iraq. Amara was on the left bank of the Tigris, 520 km from the sea and was occupied by the Mesopotamia Expeditionary Force in 1915 and became a hospital centre (ref a). He was the son of Mrs E.Belcher of Manor Cottages, Dorney Common (ref b). Robert James Eustace was a Private with the 28th Battalion of the Canadian Infantry (Saskatchewan Regiment). He died on 28th of September 1917, aged 30 years, and is buried in Dorney Burial Ground (ref a). He was the son of James, a shepherd, and Elizabeth Eustace of Dorney Village (ref b). Arthur Poolman was a Private in the 5th Battalion of the Royal Berkshire Regiment. He died on 5th June 1918, aged 37 years, and is buried in Grave X.E.12 in

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Niederzwehren Cemetery, Kassel, Hessen, Germany. This was a cemetery begun in 1915 for burial of P.O.W. who died in the local camp (ref a). 8 There was a special service at ‘The Swan’ on 3 August 1921 when the desk was dedicated by the Rev Philip H. Eliot, Lord Bishop of Buckingham (ref c). 9 SACRED TO THE MEMORY OF

J.H. MORIARTY. LIEUT. R.G.A. DIED OCTR 12TH 1915, AGED 22 YRS

PL R ST P.C.POOLMAN. L/C A.S.C., OCT 1 1918 .. 26 .. ATTD R.IR.FUS. ..

B.C . BELCHER. PTE O & B.L.I. .. JULY 14TH 1917 .. 27 ..

TE TH R.J.EUSTACE. P CANADIAN SEPT.28 1917 .. 30 .. .. CONTINGENT.

TE TH A. POOLMAN. P R. BERKS. .. JUNE 5 1918 .. 37 .. WHO GAVE THEIR LIVES FOR GOD, KING & EMPIRE.

10 a) C.W.G.C. b) 1901 Census c) ORO PR 63/8/1 1922

021 TOMB MONUMENT Ph William Garrard d 1607 GARRARD CHAPEL, Elizabeth Garrard d 1624 N wall

1 A half tester tomb monument with alabaster figures, marble columns and panelled recesses which is typical of the period (ref a), is on the N wall of the chapel. Some of the marble has been painted black and detail picked out with gilding. On the pediment are three shields of arms with a helmet above and a crest and strapwork between.

Central arms Encircled Blazon: Quarterly of four 1 & 4 Argent on a fesse Sable a lion passant of the first [GARRARD] 2 & 3 Argent a chevron between three crescents Azure [NETHERMILL] Crest: a helm with a demi-panther sejant Gules mantled Argent and Sable LH Arms Blazon: A smaller shield with the like arms [GARRARD] quartering [NETHERMILL]

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RH Arms Blazon: A smaller shield with the like arms [GARRARD] quartering [NETHERMILL] Impaling Argent on a chevron Azure between three trefoils slipt per pale Gules and Vert as many bezants [ROWE]

Under the pediment is a shaped cornice of black painted marble and ovolo moulding. It has an obelisk at either end and a small urn in the centre. The left obelisk is chipped and the ball on top of the right obelisk is missing. The cornice is supported by three columns with crocket capitals and convex moulded bases. Between the columns and above two recesses are four gold edged glazed circular roundels containing skulls, one each on either side of the recesses. In the round-headed, panelled recesses are the alabaster figures of a bearded man in armour, with a sword and with a high stiff collar around his neck and also Elizabeth, his wife, wearing widow’s weeds – a black dress with a very long waist, large ruff, enormous hood and widely spreading hoop skirt. They are both kneeling on cushions in pious attitudes facing each other. Above their heads, in each of the soffits of the recesses, are four panels with three remaining undamaged large petalled flowers. Under the recesses are two black marble panels, 1 & 2. They are set between the bases of the columns with memorial inscriptions in latin roman caps, incised and filled. Under each column is an alabaster putto, the central one being smaller and gilded. On either side of the putti are two large obelisks of variegated alabaster. Under the sill are fourteen shields of arms with the names of the Garrard children to whom they correspond. Between the shields and on each side of them is reeding in blue and gold on a red ground. The Garrard sons L to R Henry Blazon: [GARRARD] quartering [NETHERMILL] with annulet Gules for difference.

John Blazon [GARRARD] quartering [NETHERMILL] with martlet Gules for difference William Blazon: [GARRARD] quartering [NETHERMILL] with mullet Gules for difference George Blazon: [GARRARD] quartering [NETHERMILL] Impaling: Or a fesse Azure, three martlets volant Azure [SWALLOW]

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Thomas Blazon: [GARRARD] quartering [NETHERMILL] Impaling: Argent on a bend Gules between three pellets Azure as many swans Proper, was added on a sinister corner a canton Azure a demi-ram salient Argent armed Or; in chief two fleurs-de-lys Or; over all a baton dexter [CLARKE] (ref b) William & Henry Blazon: [GARRARD] quartering [NETHERMILL]

The Garrard daughters carrying on from the centre to R. Mary Blazon: Quarterly of four 1 & 4 Azure two chevronels Or between three bezants Or [KEDERMISTER] 2 & 3: Gules, a saltire Argent between four fleurs-de-lys Azure. [WENTHAM] Impaling: [GARRARD] quartering [NETHERMILL] Anne Blazon: Gules a chevron Or three hinds passant Or [HYND] Impaling: [GARRARD] quartering [NETHERMILL] Elizabeth (Lozenge) Blazon: [GARRARD] quartering [NETHERMILL] Judith Blazon: Argent on a chevron Azure five fleurs-de-lys Argent three mullets Azure each charged with a bezant [GRESHAM] Impaling: [GARRARD] quartering [NETHERMILL] Jane . Katherine (Lozenge) Blazon: [GARRARD] quartering [NETHERMILL] Martha Blazon: Or two bars Gules charged with three trefoils Or [PALMER] Impaling: [GARRARD] quartering [NETHERMILL]

Katherine Blazon: Azure a chevron Or three leopards heads couped Or [WENTWORTH] Impaling: [GARRARD] quartering [NETHERMILL]

The effigies of the children – seven sons and eight daughters, are depicted kneeling on cushions two by two, in two groups facing each other. Five of the children, Henry 1st, William 1st, Katherine 1st, Jane and Elizabeth, bear skulls in their hands indicating that they had died before the tomb was completed. Two of the sons,

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George and Thomas are married and are in armour, like their father. Their shields show that they were married. The other sons wear gowns with stiff collars. The daughters are wearing gowns with stiff collars. The headdress of the effigy of Mary is chipped. Under the effigies of the children are two rectangular tablets with nowy ends containing latin inscriptions in roman caps. Under the sons’ effigies: HOC SOCER IPSE SVIS MONUMENT V SVMPTIBVS ORNAT ET FIERI GENERO REM MODERANTE IVBET Translation: This monument the father-in-law equipped at his own expense and ordered the business to be completed under his son-in-law’s direction (ref c).

Under the daughters’ effigies: AVXIT AT HOC GENERI CONIVX SOCERIQ: SED ILLA FLETIBVS. HÆC AVTEM SVMPTIBUS ET LACHRYMIS. Translation: But this was enlarged by the wives of the son-in-law and father-in-law, through the weeping of one and through the tears and expenditure of the other (ref c).

Between these panels are the arms of Ioannes Kedermister: Blazon: Quarterly of four: 1 & 4 :Azure, two Chevrons Or between three bezants [KEDERMISTER] 2 & 3: Gules, a saltire Or between four fleurs de lis Azure [WENTHAM] Impaling: 1 & 4: Argent, on a Fesse Sable, a lion passant of the first. [GARRARD] 2 & 3: Argent, a Chevron Or, between three crescents Azure. [NETHERMILL]

The tomb is standing on a stone plinth which is chipped in various places. 2 Marble, alabaster, stone, paint 3 1st quarter 17th c 4 Max h. 374 x max w. 295 x max d. 37cm 5-6 Possibly the work of Nicholas Janssen or Johnson (ref d) 7 Sir John Kedermister Lord of Langley Manor and married to Mary one of the daughters (ref a). In 1537 Sir William Garrard acquired Dorney Court and 1600 acres of land, which he passed to his son William Garrard. The monument originally contained Sir William’s helm and standards, now in Dorney Court house. It was completed by his son-in-law, John Kedermister, whose responsibility for the monument lasted from 1607 to 1625. It is thought that it was the work of Nicholas Johnson or Janssen who was one of the leading monument

MEMORIALS Page 24 of 29 ST. JAMES THE LESS, DORNEY, MEMORIALS BUCKINGHAMSHIRE

makers at that time, together with his pupils. The monument was cleaned, regilded and repainted in 1978 by A.E. Packe of Burnham (ref d). William’s father had been a grocer and sometime mayor of London who made his money from “Merchant Adventuring” in Barbary and Guinea, which led him into the slave trade. He died a wealthy man with land in three counties. His mother was Isabella, daughter of Julius Nethermill, a Coventry draper (ref e). William himself served as a haberdasher (ref f). In 1573, William married Elizabeth, daughter of Thomas Rowe who was a graduate of Magdalen College Oxford and The Inns of Court. William and Elizabeth had 15 children. A sometime Mayor of London, William also made his fortune by “Merchant Adventuring”. He was “Esquire to the Body of Queen Elizabeth” about the end of her reign, and also “Chancellor of the Garter & member of the Privy Council” to King James 1st (ref g ). He was High Sheriff of Bucks in 1598 and was one of 500 persons knighted on 21st July 1603 in the Royal Gardens at Whitehall before the coronation of King James 2nd . In 1629 the manor was conveyed by Thomas, the eldest surviving son of William and Elizabeth, to Sir James Palmer. Sir James Palmer was the 3rd son of Sir Thomas Palmer of Wingham Kent, who married Martha Garrard, Thomas’ sister (ref h). 8 William Garrard paid for the monument himself. It was enlarged at the expense of Lady Elizabeth. 9 Panel 1 - Under Sir William Garrard HIC SITUS EST LECTOR GVILIEMVS GARRARD VS MILES (FILIUS GVILIEMI GARRARD MILITIS), VIR DE QUO FAMA COMMUNIS-NON MENITIVR FIDE, INNOCENTIA, PIETATE INSIGNIS SINGULARI BENEFICENTIA IN EGENOS ET QVI OBIIT VT VIVERE DOCVERIT Obiit 17 Nov : Ano Dni 1607 AEta : suae 70 Translation: Here reader, is laid William Garrard, Knight (son of William Garrard, Knight), a man about whom general report does not lie, conspicuous for loyalty integrity and piety, and of remarkable kindness towards the needy, who so died as he will have taught others to live. He died on the 17th of November in the year of our Lord 1607 and in the seventieth year of his life (ref c).

Panel 2 - Under Lady Elizabeth CVIVS OSSIBVS VXOR EIUS ELIZABETHA FILIA THOMAE ROWE MILITIS CONCORDIA MARITI 30 ANN FORTVNATA, NVMEROSA PROLE BEATA HOC VERO ACERBO OFFICIO MOESTISSIMA NE QVOS SINGULARIS AMOR CONIVNXERAT, MORS IPSA DEVIDERAT HOC MONUMENTUM POS ET SIBI AC SUIS DESTINAVIT

MEMORIALS Page 25 of 29 ST. JAMES THE LESS, DORNEY, MEMORIALS BUCKINGHAMSHIRE

Translation: Over his bones his wife Elizabeth, daughter of Thomas Rowe, Knight, fortunate in thirty years of harmony with her husband and blessed with numerous offspring, but in this untimely duty most unhappy, set up this monument lest death itself should separate those whom outstanding love had united, and intended it to serve herself and her family (ref c).

10 a) Ch G 1 p.8 b) Boutell’s Heraldry revised by J.P.Brook-Little p.126. c) Translation by D.P.Simpson, Eton College 1978 d) 603D e) Pedigrees with index of London citizens – Manuscript at Somerset House, London f) www.historyof parliament.org g) Biographer Brittanica p.3501 h) A&TR p.97

022 WALL TABLET Ph Sir Charles Palmer Bt. d 1895 GARRARD CHAPEL, Katharine Palmer d 1909 N wall

1 A stone trefoil arched tablet with equilateral arched heading and wave moulding on an arched black marble ground affixed to the wall. There are two rosettes, one on each side with foliage under the moulding. Under the soffit of the trefoil arch is a panther sejant guardant, holding in its paws a palm branch. The arched heading is supported by two flanking brown marble pilasters with Corinthian capitals which are seated on a fluted apron and brackets under which are palm leaves. The inscription is in blackletter fraktur caps and l/c, roman caps and sloped roman caps sans serif. There are scrolls between the first and second lines. 2 Stone, brown marble, black marble 3 Last quarter 19th c and 1st quarter 20th c 4 Tablet: max h. 120 x max w. 71∙5 x max d. 14cm Ground: max. h. 126 x max w. 82 x d. 3∙5cm 5-6 - 7 Charles James Palmer was the son of Rev. Henry Palmer (015) and Sarah, née Garrard. Charles was the brother of John Palmer who died without issue (012), Rosa Long (019) and Roger Henry Palmer (005). He married Katharine, née Flood. Charles was an engineer, articled to I.K. Brunel, and a farmer at one time (ref a), and was a member of the Field Survey Association. He was also a Justice of the Peace and a deputy Lieutenant (ref b). Although he styled himself “Sir” Charles, the baronetcy had become extinct when his grandfather Sir Charles Harcourt Palmer (016) failed to register his marriage to his cousin, Caroline Bonin (011) with the College of Heralds (ref c). 8 Katharine Millicent Palmer and the dowager Lady Palmer.

MEMORIALS Page 26 of 29 ST. JAMES THE LESS, DORNEY, MEMORIALS BUCKINGHAMSHIRE

9 In Loving Memory of

SIR CHARLES JAMES PALMER BT, OF DORNEY COURT, BUCKS, ELDEST SON OF THE REV. SIR HENRY PALMER BT. AND SARAH HIS WIFE WHO DIED JULY 11TH 1895, AGED 66 YEARS. THIS TABLET IS PLACED BY HIS SORROWING WIDOW KATHARINE MILLICENT LADY PALMER,

& THE DOWAGER LADY HIS AGED MOTHER. GONE FROM SIGHT BUT NEVER FORGOTTEN. AND KATHARINE MILLICENT, WIFE OF SIR CHARLES JAMES PALMER BT. WHO DIED JANUARY 9TH 1909, AGED 66 YEARS 10 a) D Ct 2, p.13 b) Kelly’s Directory 1891, p.367 c) D Ct 1 p.11.

023 FLOOR SLAB Ph William Festing d 1763 CHANCEL Mary Festing d 1763

1 A lozenge shaped white floor slab set in front of the communion rails. The inscription is in incised roman caps and l/c. The tablet is chipped in several places, mainly around the edges. 2 Stone 3 Third quarter 18th c 4 h. 47 x w. 47cm 5-6 -

MEMORIALS Page 27 of 29 ST. JAMES THE LESS, DORNEY, MEMORIALS BUCKINGHAMSHIRE

7 The Festing family came from Germany originally and settled in London. Michael Festing, the children’s grandfather was a violin virtuoso and became Master of the King’s music (ref a). His son Michael gained a B.A. and M.A. from Cambridge and married Margaret, the daughter of Maurice Greene the composer, in 1751 in London (ref b). He became the Rector of Wyke Regis in Dorset Michael and Margaret Festing had several children, apart from William and Mary, including John who entered Eton in May 1763 at the same time as Sir Charles Palmer (ref c). William and Mary, died in September 1763, 8 days apart (ref d). The Rev.Festing died two years later and Ann in 1766 (ref e). There was a smallpox epidemic in the south west at the time with a high mortality rate. 8 -

9 Here lie WILLIAM & MARY FESTING Who died infants. In Septr 1763. of SUCH is The Kingdom of HEAVEN. 10 a) ‘A Dictionary of Music and Musicians’, Sir George Grove, vol.1 1450-1889, p.515 b) ‘A Dictionary of National Biography’, John Alexander Fuller Maitland, vol 1 p.393-394 c) The Eton College Register 1753-1790 d) ancestry.co.uk Buckinghamshire Parish records – burials Dorney e) ancestry.co.uk Dorset Parish records – burials Wyke Regis

MEMORIALS Page 28 of 29 ST. JAMES THE LESS, DORNEY, MEMORIALS BUCKINGHAMSHIRE

Items given ‘In Memory’ and recorded in other Sections

NAME DATE ITEM ALLEN,Con’s mother 608 AMES, William Arthur Roger 1962 400B (i), 707 BAKER - 608 NORTH, Mary Ann 127 PALMER, Roger Henry 1837 700 PALMER, the Rev. Sir Henry 1865 700 RAFFELL, Petra - 400B(i) RIDGEWAY, Mrs N K R - 608 ROBB, Helene & Peter - 101 STACEY, Olive - 400A STAYNER, Mabel (née Palmer) 1963 708 PALMER, Charles, Henry Dayrell 1939 133

MEMORIALS Page 29 of 29 ST. JAMES THE LESS, DORNEY, METALWORK BUCKINGHAMSHIRE

133 BELLS Ph BELL CHAMBER We are grateful to Mr Peter Legge, a member of the congregation for his contribution to this record. 1 There are six bells of various weights and age all swinging E-W (ref a). Originally there were four bells dated 1582 to 1771 (ref b). In 1961 the oak bell frame was replaced with one for six bells and the 1771 bell was recast and re-hung, and two new bells were added (ref c). Screwed onto the E side of the frame there is an oblong metal plate with concave corners. It is inscribed in sans serif caps “THE PALMERS GAVE ME” / IN MEMORY OF / CHARLES HENRY DAYRELL PALMER / 1872 – 1939 / . The six bells are inscribed, although very little is currently visible, in various fonts caps and l/c. For inscriptions and further details of the bells and frames see the accompanying bell forms (ref b). The bells were anchored with metal by the Whitechapel Foundry c 2000 (ref a) 2 Bell metal, steel, cast iron, wood, rope 3 Bell 1 & 2 1961 Bell 3 1698 Bell 4 1631 are Bell 5 1582 Bell 6 1961 4 See bell forms 5-6 Bell 1 & 2 Mears & Stainbank, Whitechapel Bell 3 William Eldridge I of Chertsey (ref d) Bell 4 Ellis Knight of Reading Bell 5 Josef Carter of Reading Bell 6 Whitechapel Bell Foundry 7-8 Bell 1 - Treble, was added with bell 2 in 1961 to make a ring of six. It was presented by by the Provost and Fellows of Eton College, Berkshire (ref c). Bell 2 - E, a new bell given by Lt. Col. P.D.S. Palmer and Family of Dorney Court, Dorney, Berkshire (ref c). Col. Palmer was a keen bellringer (item 510). Bells 3, 4 & 5 see bells forms below. Bell 6 - A, tenor, a recast in 1961 of the original bell cast by Thomas Swain of Reading in 1771 (ref d). A facsimile of the original inscription was added to the recast bell (ref e) The bells were dedicated by the Bishop of Buckingham, following the completion of their repair, at the 11am service on 24 June 1962 (ref f). 9 Bell 2 – “ THE PALMERS GAVE ME” / IN MEMORY OF / CHARLES HENRY DAYRELL PALMER / 1872 – 1939 / . 10 a) Mr Peter Legge, member of the congregation of St James the Less b) COCKS p.371 c) Oxford Diocesan Guild of Bell Ringers 2012 d) COCKS ps..85 & 141 e) Whitechapel Bell Foundry (Mr M. Bakehouse) f) CRO PR 63/8//1 PCC Minutes

METALWORK Page 15 of 18 ST. JAMES THE LESS, DORNEY, METALWORK BUCKINGHAMSHIRE

BELLS Dedication: St James the Less Place: Dorney, Buckinghamshire Recorded by Peter Legge, bell ringer BELL FRAME N 5 6   4 1   5 3 2

 

MATERIAL Timber Inscription on Frame WHITECHAPEL BELL FOUNDRY HEADSTOCKS 1 2 3 4 5 6 7 8 Timber Cast-Iron X X X Steel X X X X X X X X X WHEELS

Other Sketch the spokes

Lever: Timber / Iron N/A CLAPPERS

Stirrup-top

Wood–top

Strap-top X X X X X X

Modern

USE: Swung Full circle / chimed with hammers / rope attached to clappers / derelict

METALWORK Page 16 of 18 ST. JAMES THE LESS, DORNEY, METALWORK BUCKINGHAMSHIRE

BELL 1 Diameter 64cm NOTE Treble F# REPUTED WEIGHT 3cwt 0qrs 22lbs

Inscription: Eton gave me for God’s Glory A D 1961

CASTING: CROWN-STAPLE: TUNED: Good X Cast-in ฀ Machine X Average ฀ False ฀ Chisel ฀ Rough ฀ Independent ฀ Skirted ฀

BELL 2 Diameter 66cm NOTE E REPUTED WEIGHT 3cwt 1qr 21lbs

Inscription: THE PALMERS 1961 GAVE ME

CASTING: CROWN-STAPLE: TUNED: Good X Cast-in ฀ Machine X Average ฀ False ฀ Chisel ฀ Rough ฀ Independent ฀ Skirted ฀

BELL 3 Diameter 70cm NOTE D REPUTED WEIGHT 4·cwt 1qr 15lbs Inscription: WILLIAM ELDRIDGE MADE MEE (lozenge- shaped stop) 1698 (3 more lozenge - shaped stops)

CASTING: CROWN-STAPLE: TUNED: Good ฀ Cast-in ฀ Machine ฀ Average ฀ False ฀ Chisel ฀ Rough ฀ Independent ฀ Skirted X

METALWORK Page 17 of 18 ST. JAMES THE LESS, DORNEY, METALWORK BUCKINGHAMSHIRE

BELL 4 Diameter 77cm NOTE C# REPUTED WEIGHT 5cwt 1qr 0lb

Inscription: PRAYES THE LORD 1631

CASTING: CROWN-STAPLE: TUNED: Good X Cast-in ฀ Machine ฀ Average ฀ False ฀ Chisel ฀ Rough ฀ Independent ฀ Skirted X

BELL 5 Diameter 84cm NOTE B REPUTED WEIGHT 6cwt 0qr 14lbs

Inscription: (INDECIPHERABLE)

CASTING: CROWN-STAPLE: TUNED: Good ฀ Cast-in ฀ Machine ฀ Average ฀ False ฀ Chisel ฀ Rough ฀ Independent ฀ Skirted X

BELL 6 Diameter 91cm NOTE Tenor A REPUTED WEIGHT 7cwt 2qrs 13lbs

Inscription RICHARD SIDDING : THOMS MARTIN : CHURCH : WARDENS : J77J

CASTING: CROWN-STAPLE: TUNED: Good ฀ Cast-in ฀ Machine X Average ฀ False ฀ Chisel ฀ Rough ฀ Independent ฀ Skirted ฀

METALWORK Page 18 of 18 ST. JAMES THE LESS, DORNEY, METALWORK BUCKINGHAMSHIRE

131 FLOWER STANDS

131 (a) 131 (b)

132F BELL CLAPPERS

METALWORK ST. JAMES THE LESS, DORNEY, METALWORK BUCKINGHAMSHIRE

133 BELLS

133 MECHANISM

133 INSCRIPTION ON FRAME

METALWORK ST. JAMES THE LESS, DORNEY, METALWORK BUCKINGHAMSHIRE

133 BELL UP

133 BELL (2) DOWN

METALWORK ST. JAMES THE LESS, DORNEY, STONEWORK BUCKINGHAMSHIRE

The condition of items in this Section appears to be satisfactory unless otherwise stated.

200 PISCINA Ph CHANCEL, S wall

1 The piscina is set within a two-centred pointed chamfered stone arch with a very shallow circular basin with single drainage hole and wooden credence above. The E side of the arch disappears into the E wall and the W side of the arch leads into the exposed stone blocks of item 201. 2 Stone 3 13th c (ref a) 4 h. 98 x w. 46∙5 x d. 25cm (external) Credence h. 2 x w. 39 x d. 23cm at a height of 42cm above drainage hole. 5-9 - 10 a) RCHMS p.128

201 ARCH Ph CHANCEL, S wall

1 A semi-circular segmental chamfered stone arch with a large treated wooden keystone surrounds a pair of trefoil pointed windows (item 701). The sill has been lowered to form a sedile of stone slabs (ref a). This is now used to support a radiator (item 804). The stones forming the lower sides of the arch are much damaged and join stones on the E side of (item 202) and W side of (item 200). There are quoins on the inner sides of the arch. 2 Stone, wood 3 13th c (ref a) 4 Arch: h. 254 x w. 226 x d. 18cm Sedile: h. 52 x w. 226 x d. 32cm 5-6 - 7 The arch was probably widened in the 13th c at which time a large block of wood was placed in the apex (ref a). It is said that there was originally an altar tomb in a recess under the arch which was defaced by parliamentary soldiers at the time of the Great Rebellion (ref b). The chancel and nave, which have been coated in cement, are built of clunch – a soft limestone capable of easily being worked (ref c). 8-9 - 10 a) RCHMS p.128 b) A&TR p.88 c) VCH p.221-225

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202 NORMAN ARCH Ph CHANCEL, S wall

1 There is a round topped early 12th c Norman stone arch above what was a small round window, which is now blocked up. It is visible on the outside as an inverted J (ref a). The stones of the Norman arch extend downwards on the E side to join the quoin on the W side of item 201. 2 Stone, chalk 3 12th and 13th c (ref a) 4 h. 46 x w. 88 x d. 54cm 5-6 - 7 The remains of the small, round headed window in the S wall of the chancel is the oldest part of the building. It is pre-Conquest in date and its head is cut out of a single block of chalk in the manner frequently found in work of this date (ref b). 8-9 - 10 a) RCHMS p.128 b) A&TR p.87

203 ARCH Ph CHANCEL. S wall

1 Directly below (item 202) there are two pointed segmental stone arches, the remains of a priest’s door. The stone slabs of the upper segmented arch with a small chamfer form the soffit of an inner porch. Beneath this is a lower second pointed arch with a conforming rear arch over the doorway which has been blocked off from the floor at a height of 120 cms creating a shelf and alcove. 2 Stone 3 12th and 13th c (ref. a) 4 Upper Arch - h. 71 x w. 82 x d. 43cm Lower Arch - h. 43 x w. 61 x d. 7cm 5-6 - 7 This was a 13thc priest’s door which is now blocked off. 8-9 - 10 a) RCHMS p.128

204 WINDOW ARCH Ph CHANCEL, S wall

1 A triangular recess with a pointed chamfered arch surrounding a stained glass window (item 702). The stones on the E side of this arch are linked to stones on the W side of the arch of the Priest’s doorway (item 203).

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2 Stone 3 14th c (ref a) 4 h. 194 x w. 84 x d. 40cm 5-6 - 7 It is difficult to date this window. However there is a similar low window opposite in the N wall of the chancel which dates from the 14 th c (ref b). 8-9 - 10 a) VCH p.221-225 b) A&TR p.88

205 CHANCEL ARCH Ph CHANCEL/NAVE

1 The wide four-centred pointed arch is of two moulded orders worked with a wave mould. The inner order springs from a semi octagonal respond with moulded capitals and bases, the N base being cut away. There is an astragal on the S respond. The outer order on the E side is chamfered and on the W side is partly chamfered and partly flat; there are some quoins on the lower part of the E and W sides. The N E side of the arch is supported on a painted brick base and the N respond is supported on bricks at its base. There are many carved initials, a small shield and other forms of graffiti on the lower part of both responds and the chancel arch. 2 Stone 3 1340 (ref a) 4 From central point of arch to the floor.: h. 5000 x w. 394 x d. 83cm approx. Capitals from floor h. 213 x diam. 24 x circum. 39∙5cm 5-6 - 7 Both the chancel and the nave were built in the 12th c but the chancel arch between them dates from the 14th c (ref a). 8-9 - 10 a) RCHMS p.127-8

206 INNER DOOR ARCH Ph NAVE, S wall For door see Woodwork 322

1 Interior: The arch of the S doorway is a chamfered segmental pointed arch with painted brick pillars. The deep recess has a square headed opening for door (item 322).

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Exterior: This has a square-headed opening. 2 Stone 3 13th c (ref a) 4 Interior arch: h. 241 x w. 115 x d. 42cm to door Porch outer arch: h. x 200 w. x 116 d. x 11cm 5-6 - 7 The exterior arch has been altered, having been heightened due to the rising of the ground (ref b). 8-9 - 10 a) RCHMS p.128 b) A&TR p.89

207 RECESSES & SEATS Ph PORCH

1 There are two recesses in the outer porch. The one on the E wall has deep jambs and a flat sill and is open to the outside with a wood vertical insert between two rails and a wooden ceiling. The one on the W wall is similar but not open. Since recording began it has been covered by a wooden board and is no longer visible. Beneath the recesses on either side are two seats made of plastered brick and running N - S. 2 Plaster, wood, brick 3 - 4 E recess interior: h. 44 x w. 56 x d. 48cm Exterior: h. 37 x w. 31cm W recess exterior: h. 35 x w. 50cm E seat: h. 34 x w. 181 x d. 34cm W seat: h. 35 x w. 175 x d. 33cm 5-6 - 7 In 1911 it was decided that the niche on the E side of the porch be opened out, modern bricks being removed and replaced with old ones (ref a). 8-9 - 10 a) CRO PR 63/8/1 Minute book

208 OUTER ARCH Ph PORCH

1 Interior: The arch is semicircular stone covered with cement. Exterior: This is also of stone with prominent some voussoirs.

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2 Stone, cement 3 17th c (ref a) 4 Outer arch h. 191 x w. 128 x d. 36cm 5-6 - 7 The south porch was added in 1661 to mark the birth of an heir to the Palmer family, a defaced keystone on the outer wall above the arch bears the date (ref b). 8-9 - 10 a) RCHMS Vol 1 p.127-8 b) Ch G 1 p.4

209 ARCH Ph NAVE/TOWER, W wall

1 The tower arch is pointed with two chamfered orders and is almost the full width of the tower/vestry (ref a). The lower half is partly hidden by the gallery (item 328) and is closed in by a wooden screen (item 324) There are quoins on both sides. 2 Stone 3 16th c (ref a) 4 h. 5050 x w. 365 x d. 104cm approx. 5-6 - 7 The West Tower was added circa 1530 so it is possible that the arch dates from that time (ref a). 8-9 - 10 a) RCHMS p.128

210 FONT Ph LOWER NAVE

1 The font is a circular tub shaped stone bowl which has several large vertical cracks. The exterior of the bowl is decorated with a continuous pattern consisting of a lozenge shape carved with ribbed edges which encloses a cross. The horizontal arms of the cross end in fleur-de-lys (which represent St James) and the vertical arms in the shape of a dove. In parts the pattern is very worn making it hard to distinguish. The top of the font has been cut down (ref a). It stands on a plain circular stem and base. Metal rods have been inserted into the stone, one on either side. One of the metal rods has an open loop at the top, the other is bent at right angles at the top. The font is lined with a lead basin with a drainage hole in the bottom. A brass plug and chain are kept inside.

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Cover: The circular oak cover is made of two planks, morticed and tenoned, and cut away to accommodate the bent metal rods on the top edge of the font. It has six ogee feet descending to outward plain volutes and topped with a large acorn finial 2 Stone, metal, wood. 3 12th c (ref a) 4 Overall: Font: h. 51 x diam. 73cm Base: h. 57 cm Bowl: diam. 65 x d. 23cm Cover: h. 50 x diam. 65∙5cm 5-6 - 7 The font dates from the age of the Danvers tenure of Dorney, 12th c, which was between the Norman Conquest and the end of the 13th c (ref b) It is at a lower level than the main part of the church, probably the original floor level (ref a). 8-9 - 10 a) RCHMS p.128

211 ARCH Ph NAVE, N wall

1 On the N wall opposite the S door was another doorway, now blocked, with a window (item 707)) set into it. The outer arch is a plain pointed chamfered arch enclosing a smaller inner pointed arch with conforming rear arch (ref a). The lower section is blocked and forms a sill covered with a wooden board (item 344D). There is one iron gudgeon-hook on the W side of the arch. 2 Stone, iron 3 13th c (ref b) 4 Outer arch: h. (from platform) h. 163 x w. 124 x d. 36cm Inner arch: h. (from platform) h. 121 x w. 117 x d. 11cm 5-9 - 10 a) A&TR p.88-89 b) RCHMS p.128

212 ARCH Ph CHANCEL, N wall GARRARD CHAPEL, S wall

1 A shallow, pointed, chamfered stone arch with quoins surrounds a recessed stained glass window (item 710) in the N wall of the chancel. The stone is quite damaged

STONEWORK Page 6 of 11 ST. JAMES THE LESS, DORNEY, STONEWORK BUCKINGHAMSHIRE

with some graffiti. The window goes through into the Garrard chapel and on that side the arch is square headed. 2 Stone 3 14th c (ref a) 4 Chancel side: h. 199 x w. 101 x d. 52cm Garrard Chapel side: h. 170 x w. 147∙5 x d. 19∙5cm 5-6 - 7 Before the Garrard Chapel was built this would have been the exterior wall of the Church, and the condition of the stonework shows considerable weathering. 8-9 - 10 a) A&TR p.88

213 ARCH Ph CHANCEL/GARRARD CHAPEL, N wall For gates see Woodwork 308

1 The entry to the chapel is a four-centred, twice chamfered stone arch with a plain label which has a horizontal return to the E, but is cut off on the W to accommodate the wall tablet to Jane Palmer (item 018). Inside this is a smaller pointed arch with a small label. There are the remains of medieval paintings on either side of the arch (item 509). From the Garrard Chapel to the chancel there is a smaller pointed arch with a small label with wave moulding (ref a) and a hood mould with a small label. There are a pair of gates in the opening (item 308). 2 Stone 3 Possibly 14th c much repaired (ref b) 4 Chancel side: h. 299 x w. 224 x d. 28cm Garrard Chapel: h. 298 x w. 147 x d. 7cm 5-6 - 7 The Garrard Chapel was built by Sir William Garrard after 1607, the date of the death of his wife. However, the opening into the Chapel is of uncertain date, some stones show diagonal tooling, but the moulded jambs and arch appear to be partly of 14th c work, re-used and partly modern (ref b) 8-9 - 10 a) A&TR p.88 b) RCHMS p.128

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214 WINDOW OPENING Ph GARRARD CHAPEL, S wall

1 A Norman arched unglazed window. The blocks of stone surrounding the opening are uneven in size and there is some chamfering visible mainly at the top, lh side and the bottom. There are remains of an inner arch into a void. 2 Stone 3 - 4 h. 112 x w. 79 x d. 48cm (into the wall) 5-6 - 7 It would appear originally to have been an outside window which was blocked off on the Chancel side to enable the hanging of the Jane Palmer tablet (item 018) (ref a). The material used to block the space shows the method of building in the 17th c. 8-9 - 10 a) A&TR p.88

215 DOOR ARCH Ph VESTRY/TURRET, S wall For door see Woodwork 334

1 Interior: Above a stone step from the vestry there is a four-centred pointed shallow stone archway with a wooden door leading from the vestry to the turret. There is graffiti on the stonework on the E and W sides of the arch and there is much damage in the area of the door lock. Some of the stonework is covered by the floor of the gallery. Exterior: On the turret side the four-centred pointed arch is curved into the shape of the circular turret. The head of the arch is carved out of 2 pieces of stone with an inner arch on which the door rests. There is considerable damage to the stone and brickwork on the E side and some areas seem to have been used for various door locks and door furniture. 2 Stone, brick 3 16th c (ref a) 4 Interior: h. 181 x w.73 x d. 20cm Exterior: h. 187 x w. 71 x d. 7 to 25cm 5-9 - 10 a) RCHMS p.128

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216 DOOR ARCH Ph VESTRY, W. wall For door see Woodwork 335

1 Interior: A plain flat stone arch surrounds the W door. Two keystones protrude slightly. Exterior : There is a four-centred arch with multiple hollow chamfering and stopped ends, with a hood mould ending in a small label. Above the hood mould four areas of brick have been repaired with painted cement. 2 Stone 3 - 4 Interior: h. 266 x w. 159 x d. 14 cm Exterior: h. 225 x w. 138 x d. 31 cm 5-6 - 7 The doorway shows the lower level of the church when the tower was built in the 16th c. The doorway is much restored (ref a). It is said (ref b) that the door and arch were covered with a plywood lining (evidenced by markings on the painted cement 30cms inside the door) to prevent use of the West door. It was opened up in 2008 (ref c). 8-9 - 10 a) VCH p.221-225 b) RG. c) 602 Faculty

217 CROSS Ph TOWER, W Window sill

1 A marble calvary cross on a double plinth - the bottom plinth is half the height of the upper plinth. The upright and the horizontal arms of the cross are part chamfered on each corner. 2 Marble 3 - 4 n/a 5-10 -

218 STAIRCASE TURRET

1 A spiral stone staircase leads up from the bottom of the turret to the roof in three stages. The steps are wedged-shaped and of variable depth.

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The first stage is the ringing chamber which is 24 stone steps up from the flat base at the bottom of the flight. There are slit windows on the S, W and N sides (items 717, 718 and 719). The second stage is the belfry which is 15 stone steps up from the ringing chamber. The final 16 steps, 14 of which are stone and 2 are wooden (item 342) lead to the roof door. 2 Brick, stone, cement, wood 3 16th c (ref a) 4 Tread: h. 22 x w. 63cm 5-9 - 10 a) RCHMS p.128

219 DOOR ARCH Ph TURRET/RINGING CHAMBER For door see Woodwork 337

1 Exterior: A pointed arch with deep jambs, rounded quoins and brickwork on the rh side. There is a cement threshold. Interior: A pointed arch with uneven quoins on the rh side. There is a step down into the ringing chamber. Two iron staples are set into the stonework on the left of the archway - a possible remnant of a defensive locking mechanism from inside. 2 Stone, cement, brick, iron 3 16th c (ref a) 4 Exterior: h 187 x w. 62. x d. 20cm Interior: h. 201 x w. 65 x d.6∙5cm 5-9 -

10 a) RCHMS p.128

220 DOOR ARCH Ph TURRET/BELL CHAMBER For door see Woodwork 341

1 There is a stone lintel over the door set in uneven blocks of stone and brick at the sides. There is a cement threshold. 2 Stone, cement 3 16th c 4 Arch Exterior: h. 164 w. 60cm Lintel: h. 22 x w. 66cm 5-6 -

STONEWORK Page 10 of 11 ST. JAMES THE LESS, DORNEY, STONEWORK BUCKINGHAMSHIRE

7 The Bell Chamber door is kept locked and access has not been possible. 8-10 -

221 WINDOWS Ph BELL CHAMBER

The bell chamber has four 16th c stone windows (ref a); N, S, E and W. They consist of two, pointed, unglazed, wooden louvred lights with large eyelet at the top, beneath a rounded four centred arch with mouldings and jambs, and a sloping stone sill.

222 DOORWAY Ph TURRET/ROOF For door see Woodwork 343

1 The doorway to the roof has an external wooden frame with uneven blocks of stone and a lintel. On the inside there is an uneven stone frame. There is a stone threshold. 2 Stone, wood 3 16th c (ref a) 4 Doorway: h. 161 x w. 55 x d. 17∙5cm Lintel: h. 28 x w. 60 x d. 24cm 5-9 - 10 a) RCHMS p. 128

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200 PISCINA

201 ARCH

STONEWORK ST. JAMES THE LESS, DORNEY, STONEWORK BUCKINGHAMSHIRE

202, 203, 204 ARCHES

205 CHANCEL ARCH E - W

STONEWORK ST. JAMES THE LESS, DORNEY, STONEWORK BUCKINGHAMSHIRE

205 CHANCEL ARCH W - E

CAPITAL (S) CAPITAL (N)

BASE (S) BASE (N) GRAFFITI (N)

STONEWORK ST. JAMES THE LESS, DORNEY, STONEWORK BUCKINGHAMSHIRE

206 S DOORWAY (Interior)

-

206 S DOORWAY (Exterior)

207 RECESS (E)

STONEWORK ST. JAMES THE LESS, DORNEY, STONEWORK BUCKINGHAMSHIRE

208 PORCH ARCH N – S (Interior)

208 PORCH ARCH S – N (Exterior) (Detail)

STONEWORK ST. JAMES THE LESS, DORNEY, STONEWORK BUCKINGHAMSHIRE

209 TOWER ARCH

209 TOWER ARCH (Detail)

STONEWORK ST. JAMES THE LESS, DORNEY, STONEWORK BUCKINGHAMSHIRE

210 FONT

210 (Detail) 210 BOWL

STONEWORK ST. JAMES THE LESS, DORNEY, STONEWORK BUCKINGHAMSHIRE

210 FONT COVER

211 ARCH NAVE N WALL

STONEWORK ST. JAMES THE LESS, DORNEY, STONEWORK BUCKINGHAMSHIRE

212 ARCH CHANCEL From Chancel From Chapel

213 GARRARD CHAPEL ENTRANCE

From Chancel

STONEWORK ST. JAMES THE LESS, DORNEY, STONEWORK BUCKINGHAMSHIRE

213 GARRARD CHAPEL ENTRANCE

From Chapel

214 WINDOW OPENING

STONEWORK ST. JAMES THE LESS, DORNEY, STONEWORK BUCKINGHAMSHIRE

215 DOOR ARCH From Vestry (Detail)

From stairs (Detail)

STONEWORK ST. JAMES THE LESS, DORNEY, STONEWORK BUCKINGHAMSHIRE

216 DOOR ARCH (Interior) 217 CROSS

216 DOOR ARCH (Exterior)

STONEWORK ST. JAMES THE LESS, DORNEY, STONEWORK BUCKINGHAMSHIRE

219 DOOR ARCH (Exterior) (Interior)

220 DOORWAY BELL CHAMBER (Exterior)

STONEWORK ST. JAMES THE LESS, DORNEY, STONEWORK BUCKINGHAMSHIRE

221 BELL CHAMBER WINDOW (W)

STONEWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

The condition of items in this Section appears to be satisfactory unless otherwise stated.

Much of the 17th c woodwork is worn with age and has been infested by woodworm. Only extreme damage is mentioned below.

300 ALTAR Ph CHANCEL

1 An oak table with a three planked top framed by a deep roll-moulded cornice on four sides. The front consists of three panels and each side is one single panel. The back is open. The panels are plain, three vertical planks in a frame with cavetto moulding. The panelling frame has mason’s mitre joints. The main joints are pegged but the top has been attached with nails. The back is an open framework of oak timbers. 2 Oak 3 Part: 17th c (ref a); part: 20th c Construction: 20th c (ref b) 4 h. 95·5 x w. 250 x d. 68cm. Cornice h. 12·2cm 5-6 - 7 The three panelled sides are of old oak from Dorney Court (ref a). 8 Rev Arthur Ainsworth Sharp, rector from 1911-14, donated the altar in 1911 (ref b) 9 - 10 a) Ch G 1 p.6 b) ORO DIOC NADFAS Record 1974

301 ALTAR CROSS Ph ALTAR

1 A plain two step latin Calvary Cross, with an inlaid satinwood cross having three tapering arms. Incised sans serif u/c inscribed on the back DORNEY CHURCH / JFH. 2 Mahogany, satinwood 3 20th c 4 h. 58 x w. 34·3 x d. 2·5cm 5-6 Julian Homer (ref a) 7-8 The cross was donated in memory of Julian Homer’s father (ref b). 9 - 10 a) ORO DIOC NADFAS Record 1974 b) Mrs J Liney, a member of the present congregation.

WOODWORK Page 1 of 30 ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

302 CREDENCE TABLE Ph CHANCEL

1 The solid rectangular top is bevelled at the edge on all four sides, dropping into forward scroll mouldings. This rests on solid trestles which are pierced with one row of three roundels and emphasised by an applied mitre moulding. Between the shelf and the stretcher the trestles have been shaped at the top and bottom on both sides, splaying out into a carved moulded base. The under-shelf has ogee moulding carved into the front and back edges. A plain stretcher with pegged joints. 2 Oak 3 - 4 h. 92·7 x w. 61·4 x d. 30·3cm 5-10 -

303 COMMUNION RAIL AND KNEELER Ph CHANCEL

303A RAIL

1 The rails are in two identical sections. The S section is fixed to the floor with metal stays at the centre aisle posts and there are 2 small metal stays into the S wall one at either side of the end post. The N section is also fixed with a small batten to the W upright of the gate frame to the Garrard Chapel. Each section has a sloped capping rail with concave moulded edges which forms the top and widens to cover the two square section standards which have recessed panels facing the nave. There are seventeen turned balusters and two split balusters at either end below the capping rail. The balusters fit into grooves in the top and bottom rails with mortise and tenon joints. The top and bottom rails have a concave roll moulded edge. There is a central gap. 2 Oak, metal 3 1911 (ref a) 4 h. 77∙8 x w 223∙5 x d 12∙4cm 5-6 - 7 Col Charles Palmer and Mrs Mabel Stayner were brother and sister (ref a). Mabel Palmer was married at Dorney in 1893 (ref b). There is a memorial window (item 708) dedicated to her in the N Wall of the church. 8 Col Charles Palmer (1872 – 1939) and Mrs Mabel Stayner (1868 – 1963) (ref a) 9 - 10 a) CRO PR 63/8/1 Minute Book

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b) Slough, Eton & Windsor Observer births, marriages, deaths and memorials column, 06/05/1893.

303B KNEELER CHANCEL

1 The oak kneeling step, with block feet, is in three sections. The S and N plank tops are covered loosely with green, bound-edged carpet (item 412). The central plank is covered with identical carpet which is secured at both ends on the plank underside by brass strips and screws. 1922 is incised, in sans serif numerals, on the underside of each section. 2 Oak, carpet, brass 3 1922 4 N: h. 9·3 x w. 216·5 x d. 9·3cm Centre: h. 9·3 x w. 93 x d. 28·8cm S: h. 9·3 x w. 158·4 x d. 28·8cm Supporting blocks: h. 7 x w. 25·5 x d. 5cm 5-10 -

304 CHOIR STALLS Ph CHANCEL

304A SOUTH 1 Stall: The top rail has a rounded front edge over nine vertical tongued and grooved back planks. The W end of the rail is built into the chancel wall and fixed to the S wall by an iron bracket at seat height. The pine seat, with a rounded front edge, is in two sections. The smaller W section is fragile. It is supported by a wooden ledge bracket at the back and three supports at the front. There is some beading where the side and back surfaces meet. At the E end there is a plain slab end with a rounded front edge. It is fixed to the S wall with two metal stays. Reading Desk: Freestanding. The sloping shelf has a heavily moulded front edge and a narrow book stop and fits into slab ends. The front has four panels, with heavily moulded muntins between each. Each panel, which is separated by a hollow chamfered muntin, has applied tracery of two pointed arches with floriated spandrels. Within each arch is a quatrefoil and two daggers above a cusped arch. The backs of the panels are plain chamfered. There is a deep base rail which is steeply chamfered on the front. Ends: Slab ends have trifoliate poppy heads, above a collar and neck over moulded shoulders. The rear edge is flat, whereas the front edge has a similar profile to the muntins. The ends terminate in a block floor base with pegged joints. The front of the base is deeply moulded in line with the front edge of the slab ends. 2 Oak, pine, metal

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3 20th c (1913-18) (ref a) 4 Bench: h. 120 x w. 229 x d. 30cm Reading Desk: h. 126 x w. 206 x d. 43·5cm 5-6 Mr Watton (ref b) 7 The choir stalls are made of old oak (ref a) 8-9 - 10 a) Ch G 1 p.6 b) CRO PR 63/8/1 Minute Book

304B NORTH 1 Stall: There is a moulded trefoil top rail with a full height return on the E side. The W side is blocked to seat height only. The construction is post and panel with three stop chamfered muntins and three plank panels either side of the central muntin. The bench seat is supported by a block on the E end and a shelf joint on the W end which is mortised and tenoned into the return. Reading desk: Similar to the S desk with three panels of blind tracery. 2 Oak 3 1913-18 (ref a) 4 Bench: h. 105·5 x w. 133 x d. 32·5cm Reading desk: h. 126 x w. 161 x d. 43·5cm 5-6 Mr Watton (ref b) 7-9 - 10 a) Ch G 1 p.6 b) CRO PR 63/8/1 Minute Book

305 PRIEST’S STALL AND DESK Ph CHANCEL

1 The stall has a separate prayer desk, both freestanding. Stall: All fixings are mortised, tenoned and pegged. The top rail, of semi-circular construction and of one solid timber (h. 10∙5cm) has deep carved moulding all the way round apart from the interior back face which is flat. This is set over a three plank back. The seat is solid, and fixed into slab ends. The slab ends are chamfered and have moulded scrolled elbows. Prayer desk: This is of similar construction to (item 304) including poppy head slab ends but with only one double panel of blind tracery beneath the book rest which has no book stop. 2 Oak 3 1913-18

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4 Seat: h. 108 x w. 83 x d. 49∙5cm Desk: h. 145 x w. 79 x d. 43cm 5 Drawings supplied by Mr Vallance (ref a) 6-9 - 10 a) CRO PR 63/8/1 Minute Book

306 ROOD SCREEN WITH GATES Ph CHANCEL/NAVE

1 Only the lower part of the rood screen remains, which is of solid, panelled construction. Gated. S screen: Two panels with a substantial top rail which is steeply chamfered to the chancel side and less steeply on the nave side. Three exposed mortise fixings remain which probably supported the muntins of the missing upper screen, and there is also one that is obscured by a brass candle holder (item 119b). There is a metal plate screwed across the centre of the top rail on the chancel side. On the chancel side the panels are plain with chamfered edges and with a plain muntin between. On the nave side above each panel there is rail with roll moulding. Each panel has applied tracery of two cusped arches, with trefoils in the spandrels, except the second panel which has a quatrefoil. The arches are separated by an ogee moulded muntin. The panels are separated by a triple reeded moulded stile. The base rail is plain on the chancel side, chamfered on the nave side. Gates: The gates open into the nave, the N gate overlapping the S gate. They are similar construction to the screen, with the bases being chamfered to the floor. The N and S gate each have one panel. The gates are mounted on heavy plain iron H hinges. Some original doornail fixings remain, but the hinge plates have large iron screws now securing them and signs suggest that these replace earlier ones. There is evidence of an iron securing latch. Considerable erosion has taken place to the timbers of the S gate, particularly on the chancel side, with timber replacements added for strength. There is evidence of some heavy restoration to the chancel side of the N gate. N screen: This mirrors the S screen, but is half a panel in width. A block is fitted at the base. The end of the rood screen is fixed at the base, by a sizeable iron screw, to a newel post which is the SE corner of the family pew (item 321). There has been some restoration. 2 Oak, metal 3 15th c (ref a) 4 S screen: h. 114 x w. 126 x d. 12·5cm S gate: h. 114 x w. 66·3 x d. 12·5cm N gate: h. 115 x w. 64 x d. 13cm N screen: h. 116 x w. 33 x d. 13cm

WOODWORK Page 5 of 30 ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

5-6 Mr Watton (ref b) Messrs Hook & Dixon-Spain of Great James Street London (ref.c) 7 The early 20th c plan shows the screen against the E wall of the Chancel (ref c). This was moved back to its present position in 1912 (ref d). 8-9 - 10 a) RCHMS p.128 b) CRO PR 63/8/1 Minute Book c) A&TR p.85 d) ORO DIOC Faculties

307 LECTERN & PLATFORM Ph CHANCEL, N

1 The lectern has a sloping shelf with concave edges and an applied bead moulded bookstop. It is supported by a shaped bracket with concave moulded edge and fixed to the centre muntin of external E side of the family box pew (item 321) Platform: Below the lectern is a freestanding, square platform of five pine floorboards resting on four full-length joists with a facing on the E side 2 Oak 3 - 4 Lectern: h. 65 x w. 43∙5 x d. 28cm Platform: h. 7 x w. 76 x d. 76cm 5-10 -

308 GATES Ph CHANCEL/GARRARD CHAPEL For arch see Stonework 212

1 17th c oak gates (ref a) opening into the chancel. The gates are set in an oak architrave, both of pegged construction. Architrave: Chancel side: Plain and flat with a plain, flat fillet on the W side. Chapel side: The lintel timber is rustic with mason’s mitres and has five, cut metal hooks. Both uprights have stopped, ovolo moulding. Abutting the stone arch and overlapping the uprights are plain, flat wooden fillets scribed to fit the arch. Gates: The frame of the gates does not have a bottom rail but a plank attached by screws. The top parts of the gates are open screen style above solid double panels. The screen has three off-set square balusters that are not full height. They are set in the dado height rail, terminating just above a shallower rail that is 28.5cm from the top rail. Chancel side: The upper rail has a struck pattern, the dado height rail has an intricate strap design. The panels are chamfered with moulded muntins. Chapel side: The upper rail is square channelled and the panels are plain.

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Furniture: Both gates are held by two black metal hinges with H plates bolted to doors and frame. On the chancel side there is a centre secure strap lever attached to W gate with a pivot pin and an s-hinged free arm with square staple to rear and curleque point. The lever rests into a square hook on the E gate, the staple slotting into a rectangular slot. There is an inverted keyhole but no securing device. 2 Oak, metal 3 17th c (ref a) 4 Gates: h. 219 x w. 144 x d. 25cm Hinges: h. 20 – 23 cm Metal arm: h. 4∙5 x w. 47cm Lock plate: h. 24 x w. 11cm 5-9 - 10 a) RCHMS Vol.1 p.128

309 CORNICE (2) GARRARD CHAPEL E&W Wall

1 There is a deep multiple-moulded oak cornice above each of the E and W windows (items 712 & 713).

310 ALTAR Ph GARRARD CHAPEL

1 A free-standing, stained pine structure with a flat, table top and open back. The top overhangs a plain frieze (h.12cm) with break moulding. The front has double stiles, all stiles having three stopped flutes. The stiles project forward from the panels. The front and side panels are plain, flat with moulded and mitred frames. They rest on a deep plinth (h. 18cm) with triple moulding which creates a cruciform at the front corners where the plinth projects forward under the stiles. 2 Pine 3 Part 17th c part 20th c (ref a) Construction: 1948 (ref a) 4 h. 93∙5 x w. 105 x d. 41cm 5-6 Lt. Col. P.D.S.Palmer 7-8 The small altar was made up in 1948 by Lt. Col. P.D.S.Palmer from pilasters of 17th c altar which was replaced in 1911. (ref a) 9 - 10 ORO Nadfas Record 1974

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311 BENCHES X 2 Ph GARRARD CHAPEL

1 Two benches of pegged and panel construction with planked backs under a trefoil top rail. A central muntin (w. 11cm) is bevelled. They have a solid seat (h. 4∙5cm) supported on a central bracket. There is a book rest (w. 14cm) to rear with applied stop. The bookrest on one bench has been cut away at the left side. The bench ends are a single, framed panel. 2 Oak 3 - 4 a) h. 105 x w. 180 x d. 45cm b) h. 106 x w. 187 x d. 45cm 5-10 -

312 FRONTAL CHEST Ph GARRARD CHAPEL

1 A tall, free-standing, narrow chest, oak facing over plywood. It has a flat top attached to chest by four brass hinges and applied moulded edge on front and sides. The front has five, two tier panels with moulded edging. It is hinged at the centre rail with four brass hinges. This allows the upper part to fall forward on brace chains to allow access. The sides are two tier, plain, single panels. There are two chrome bolts inside for securing front shut. Two wooden brackets fitted on the interior of both sides allow storage of four poles. 2 Oak, plywood, brass, chrome 3 1981 (ref a) 4 h. 120 x w. 267∙5 x d. 38cm 5-6 Mr John Robb (ref a) 7-8 The chest was made and donated by Mr John Robb, a former Church Warden (ref a) 9 - 10 a) Ch G 1 p. 8

313 CROSS Ph GARRARD CHAPEL

1 Plain, chamfered, oak, latin cross on square moulded cherry wood base. 2 Oak, cherry 3 20th c 4 h. 40 x w. 22 x d. 13∙5cm

WOODWORK Page 8 of 30 ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

5-10 -

314 BACKSTOOL Ph GARRARD CHAPEL

1 A dark oak, joined, backstool with a raked back, upholstered seat and turned legs. The top half of the back and seat are covered with well worn, gold-coloured velvet. The square seat is stuffed with horsehair and supported on a base of two beech boards. There is a double row of brass studding around the back rest continuing down the struts and three sides of the seat rail. The front legs are ball-turned with three square sections below the seat rail where they meet the front stretchers and at the base. The stretchers are mid-way between the seat rail and floor, the side ones being plain while the front stretcher is spiral turned. 2 Oak, beech, velvet, horsehair, brass 3 Possibly 19th c in mid-late 17th c style 4 h. 86 x w. 47 x d. 57∙5cm 5-10 -

315 CANDLESTICKS x 3 Ph GARRARD CHAPEL

1 There are three dark wood candlesticks with some variations. Each has a circular drip tray with moulded edge. A collar leads to a barley twist stem, a basal collar and double cushion circular base. a) With a cylindrical candleholder (h.15cm). b) Has a wooden plug, diam. 4cm for securing a larger candle. c) Used during Advent has a circular tray, diam. 35cm, painted pale green, with five candleholders. 2 Beech, paint 3 - 4 h. 102 x diam. 28cm 5-10 -

316 TABLE GARRARD CHAPEL

1 A black painted pine table, the top having two thumb-nail moulded ends. At one end there is a single drawer of nailed construction, with a central wooden knob. The table top is supported on four square legs, becoming turned and tapered, ending in pole feet. 2 Pine

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3 19th c 4 h. 75 x w. 76 x d. 44cm 5-10 -

317 LITANY DESK WITH MEMORIAL PLAQUE Ph GARRARD CHAPEL

1 An oak desk with a memorial plaque. The plain, sloping desk has a moulded front and flat back edge. The desk is set within 4∙5cm thick slab sides, consisting of a plain panel between two stiles which are chamfered on the inner edges, mortise and tenon pegged, with trefoil moulded top rail. The solid front has applied tracery of two cusped ogee arches, with trefoil mouchettes in the spandrels, on either side of a moulded muntin. There is also a book shelf (d. 2∙7cm) mounted 4cm below the desk. The desk is set on a solid chamfered base, (h. 6cm) screwed and plugged to the structure, the sides extending back to support a kneeling platform of 3cm thick oak which has a detachable, carpeted pine cover with inscribed date: XI.XI.XXIII (11.11.23). For Memorial plaque see (item 020). 2 Oak, pine, brass 3 1st quarter 20th c 4 Desk: h. 84∙5 x w. 63∙5 x d. 31cm Kneeler extension: 44cm Plaque: h. 21 x w. 37∙5cm 5-6 - 7-8 The desk was dedicated at a special service held in The Swan on Wednesday 3 August 1921 by the Rev Philip H. Eliot, Lord Bishop of Buckingham (ref a). 9 - 10 a) CRO PR 63/8/1 Minute Book

318 PULPIT Ph NAVE, S E wall

1 An hexagonal pulpit of wainscot oak on a pedestal. Exterior: An oak pulpit with hexagonal drum of frame and panel pegged construction. Five facets are decorated and one plain facet faces the chancel wall. A flat topped cornice with torus moulding on outer edges superior to multiple moulding cornice is applied to all facets. Five of the facets have two tiers of decorated panelling separated by a multiple moulded rail. Each panel has mitre joints and a two-colour geometric design comprising a central triangular prism surrounded by four L-shaped, stained pieces having a moulded surround to each shape. Thirteen pieces make up each design.

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The panels are framed and the stiles are decorated with triple vertical stripes headed by a struck pattern consisting of two rows of hyperboloids separated by a row of circles. Beneath this are stopped flutes above inlaid stripes of darker wood, terminating in stopped flutes interrupted by flush beads. The N facet forms the door which opens on two extended iron butterfly hinges to allow door to open fully. There is a curly iron latch on the NW panel which can be fastened to the metal catch on the door. There are two holes on the NW panel one above and one below the rail. The pulpit drum finishes in a multiple moulding and is supported on moulded corbels, four on each facet, mitred on the angles. It descends to the hexagonal plain pedestal in three stages. The pedestal is set in the floor. Interior: The backs of the panels are plain and chamfered to fit the frames. The rails are moulded on either edge. At the join of the NW and SW facets there is a plain oak, adjustable height bookrest with book stop which is fixed to the pulpit by means of an irregularly shaped wooden bracket. The stem is adjusted by a boxwood knob with screw thread. Affixed to the S cornice of the pulpit is a brass candelabra with two sconces (item 119a). There is a short, L shaped metal stay projecting from the Chancel wall which ends in a round plate attached to the top rail on the E facet by means of two metal screws. The floor of the pulpit is made of five oak planks the door closing onto the top riser. Stairs: There are four risers and four treads of thick planking with a bevelled edge. There are no balusters or handrail. 2 Oak, metal 3 Construction: 1911 (ref a) Panels: 17th c (ref a) 4 Overall: h. 183 x diam. 94cm Each facet: h. 116 x w. 49cm Stairs: h. 17∙5 x w. 49∙5 x d. 25cm 5-6 - 7 In 1911, panels of a Jacobean pulpit were purchased from Somerset in order to construct a new pulpit. The panels are probably 17th c Dutch work (ref a). The old Victorian pulpit, which this one replaces, was given to St Paul’s Mission Church in . 8-9 - 10 a) CRO PR 63/8/1 Minute Book

319 HYMN BOARD Ph NAVE, S

1 A rectangular board, with arched top and feet which are glued to the side. An independent wider base is nailed to the board.

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The top is arched in the centre, with symmetrical, stepped curves. In the centre top is a pierced trefoil, from which the hymn board hangs on a screw fixed to the wall. Five number slots are created by six slats screwed to the board. The word HYMNS is painted in white stylised capitals above the top slot. 2 Oak, board, paint 3 - 4 h. 79 x w. 37∙4 x d. 4∙5cm 5-10 -

320 BENCHES Ph Plan NAVE

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1 BENCHES There are ten benches on the S side of the nave (six in the nave and four in the lower nave) and seven on the N side, (four in the lower nave and three in the nave). Each bench has a moulded trefoil top rail above a feather-lapped, planked back with central mason’s mitre joint to stop-chamfered muntins. The backs of the benches are plain, but scarf-joined, generally 6 vertical planks. The seats are of one or two planks and generally rest on two supports at either end in addition to being fixed into plain oak newel posts chamfered front edge at the wall ends. The rear of the bench has a plain bookrest supported on shaped wooden brackets, flat with no book stops. There are some metal hassock hooks under the bookrests. Each block of benches is set on a raised, planked, oak-edged raft enclosed by a rail, the rafts in the nave having a chamfered edge and being set directly on the floor while those in the lower nave have a plain edged rail and are set on a single course of bricks. Several parts of the floor have been repaired with hardboard. Bench 1 has an open book freestanding rest set into two oak posts and an aisle post set into the floor. Benches 2-6 have flat bookrests attached to the bench backs in front and are cut to fit around the muntin. Bench 6 has a 4cm diameter post hole on the seat at the aisle end. There is a roll moulded top rail which is considerably damaged. Fixed to the slab end is half an iron butterfly hinge, with evidence of a previous hinge beneath this. Bench 7 has an open-fronted bookrest with trefoil top rail set into newel posts at either end which support the gallery. Benches 10 and 11 have no backs. The seats have their own supports. They rest partly against the W wall and partly against the oak screen (item 325) between the nave and the vestry. The slab ends abut the screen and are single panel and post. The trefoil top rails are both damaged by woodworm. Bench 14 has a shelf as a bookrest which is set into newel posts (item 328) at either end. Benches 4, 6, 15 and 17 have 4cm diameter pole holes in the rear corners of the seats on the aisle end. Benches 6 and 15 also have wooden cups glued to floor to anchor any poles inserted through seat.

BENCH ENDS Each slab end has a moulded trefoil top rail and a single framed panel with chamfered muntin. They are of pegged construction with mason’s mitres. 2 Oak 3 16th c (ref a) 4 Nave: h. 94∙5 x w. 187-190 x d. 46cm Lower Nave: h. 87∙5 x w. 171 x d. 44cm 5-9 - 10 a) RCHMS p 128.

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321 FAMILY BOX PEW Ph NAVE, N wall

1 The pew is made of oak, rectangular and high sided, originally full height on all four sides. It was subsequently cut down on the E, S and W sides (ref a). It is of framed, panelled and pegged construction with plain stiles and rails and moulded and mitred fillets. There is a chamfered capping rail on the E, S and W sides. The corner newel posts are square, topped by shallow pyramid caps, and have stopped flutes. Exterior: On the E and W sides the panels, 2 and 3 respectively, are rectangular and full height to the capping rail, while on the S side they are square and in two tiers, 5∙5 panels in all. On the S side, there is a door opening inwards, which is one two-tiered panel and is attached to a bead and quirk edged post, by two iron butt hinges. The door has a round brass knob and round back-plate above a brass oval key escutcheon. Fixed to the top of the first panel on the E side is a brass candle sconce (item 119c) on a shaped, carved and lobed oak base. A lectern (item 307) is fixed to the centre muntin. (item 310B) The E corner newel is fixed to the Rood Screen Base (item 306 N) with a large iron screw. On the S and W sides the panels are set behind deep, moulded skirting boards. Interior: On the E, S and W sides the plain panels have bead and quirk vertical edges. On the E side, there is an additional, full height, two-tier panel which is in front of the chancel arch wall. It abuts the triangular corner post between the N and E walls and is topped by a moulded cornice. The upper tier is narrower as it has been cut back to the edge of the chancel arch (item 205). It has memorial plates (items 015-017) fixed to it. On the S side the door has a round brass knob over an oval brass key escutcheon. There is a small metal fixing bracket at floor level on the panel abutting the E door post and a larger one on the doorpost itself. Three further stays at floor level support the muntins on the S side. The N side is of original, double height and has a moulded cornice above the top rail. Beneath this is a row of four horizontal panels, followed by a second rail. Between the second and third rails there is a row of four vertical panels, to the E of which is a double casement window and a further panel. The left side of the window is glazed with twelve vertical rectangular panes of clear glass and the right side is empty. There are memorial plates (items 003-014) fixed to the panelling. Between the third and fourth rails is a row of six wider panels. From the floor the rails are (1) at floor level, (2) h. 120, (3) h. 220 and (4) h. 250cm. Benches There are benches of single plank construction with seat cushions (items 410A) on the E, W and N sides. They abut the sides of the box pew and are supported by shaped slab legs, two each on the E and W and three on the N. Wooden blocks are fixed to the walls at each end of the N bench. There is a locked drawer under the W bench suspended from runners screwed into underside. There is a keyhole cut in the drawer face below which is an inverted brass hook on 4cm circular back plate attached with 2 screws.

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The raised floor is concrete with an oak sill at the entrance to the pew. 2 Oak, metal, brass 3 17th c 4 E side External: h. 130 x w. 109 x d. 3∙5cm Internal: h. 269 & 130 x w. 184 x d. 3∙5cm S side: h. 130 x w. 383 x d. 3∙5cm W side: h. 125 x w. 201 x d. 3∙5cm N side: h. 269 x w. 383cm 5-6 - 7 The Family Pew was probably installed in the late 1620s or early1630s by Sir James Palmer who had acquired Dorney Court in 1624 (ref b). It was described as “three yards high or thereabouts” (ref c) and shows evidence of having been cut down on the E, S and W sides. This happened at some time between 1832 and 1842 when Rev Henry Palmer was vicar (1832 – 1856) and his elder brother John was owner of Dorney Court. In a letter to The Times, dated 17th January 1843, Sir John Palmer states ‘my family pew has an oak canopy, but the pew is open...’ (ref d). It is not known when the canopy was removed. 8-9 - 10 a) A&TR p.85 b) VCH Vol. 3 p.221 c) Records of Bucks. Vol. 6 p.246 d) The Times Newspaper, 19th January, 1843

322 DOOR Ph NAVE, S Wall For doorway see Stonework 206

1 A rectangular door is set within plain rectangular oak architrave without sill. Interior: The oak door of frame and pegged construction has plain stiles and muntins surrounding three chamfered vertical panels, opening inwards on two hinges to the west jamb. Furniture The door is attached to the W jamb by two pin-hung hook and band hinges with finials. The band is secured with six screws, five through the band and one through the finial. Latch: A plain black metal latch with rectangular footplate is held in place by four screws. The latch is operated by a small handle. There are two finials on the black metal retaining bar which are off-set, with a single screw through each. Rectangular catch plate on E architrave. Lock Box: There is a large wooden box beneath the latch housing a lock which operates into a metal plate on the architrave. There are two modern metal dead locks

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on the door frame above and below the original lock. On the E jamb there are two modern key plates for dead locks above and below the original lock. One key plate is taped over. There is also a latch catch. Exterior: Three chamfered vertical panels are set within a mortised, tenon and pegged frame. Two muntins cover the panel joints. A mitred bolection moulding is applied to the top frame, side frame and muntins. The moulding runs over the base rail to the bottom of the door. Furniture There is a black metal oval keyhole escutcheon secured with four screws and a metal strap handle and thumb latch on a footplate, secured with eight screws. There are two modern key plates for dead locks set into the E jamb. 2 Oak, metal 3 17th c 4 h. 193 x w. 100 x d. 8cm Hinge: h. 6∙5 x w. 72 cm Latch: h. 24 x w. 12cm (max) Lock box: h. 11∙5 x w. 20 x d. 3∙5cm 5-10 -

323 GATES Ph PORCH

1 Two oak gates each of pegged construction, opening inwards. Each gate has two stiles with semi-circular tops, three rails, the top rail being bevelled on both sides. The upper sections have four gun-barrel, turned balusters between square terminals that are mortised, tenoned and pegged between top and second rails. The lower sections are panelled. Interior: The rails are plain, as is the bottom panel. Furniture: There is a square iron loop to secure the gates. The top hinges on both gates extend to nearly the full width of the gate. They are pin-hung hook and band hinges with fish-tail finials. They are fixed to the gate with one bolt and three nails. Exterior: All three rails have a squared channel detail and the lower panelled sections have a central mitred lozenge applied to both gates, the one on the W gate being damaged. Furniture: On each gate there is one short fishtail hinge at the top, fixed with one rivet, and another fishtail hinge on the lower part fixed with three rivets. 2 Oak, metal 3 - 4 h. 125 x w. 57 x d. 5cm Furniture: Interior, Fishtail strap h. 7∙5 x w. 45cm Exterior, Fishtail strap h. 7∙3 x w. 9cm

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Loop, h. 2∙5 x w. 17 x d. 6∙5cm 5-10 -

324 NOTICE BOARD Ph PORCH

1 An oak, rectangular, moulded frame, topped by raised scroll motif and with chamfered plain lower rail. Above the frame is a carved motto and carved fleurée, cross on the terminals with top terminal missing and central alisée patée. The scroll motto reads “ANURAN NOTICES” in celtic script on either side of the cross. The frame surrounds a baize covered panel. 2 Oak, baize 3 - 4 h. 87 x w. 62 x d. 6∙3cm 5-6 - 7 This board has been moved and is resting in the vestry. 8-10 -

325 SCREEN Ph NAVE/VESTRY

1 The oak screens, which are ceiling to floor, are either side of the threshold to the vestry and incorporate the remains of 17th century work (ref a). Above the screens is a square beam stretching the full width of the opening. The screens are secured to newel posts at either end and sit on substantial oak sills. Nave side: There is a narrow top rail, below which the top halves of the screens have off-set square spindles, two either side of the central, chamfered edge muntins. The lower halves are two double panels which are tongued and grooved. The N side has a timber insert to infill to the arch. Active woodworm is present on the N side nearest the aisle. The substantial threshold has been cut to accommodate the sills of the screen Vestry side: The tops of the screens have fabric covered panels leaning against them (item 411). The S one is balanced on a timber wedged between the screen and wardrobe, the N one is wedged into place using the newel post and stone arch (item 209). On the lower S side only one double, plain, oak panel is visible. The lower N side is a brick wall to dado height. 2 Oak 3 Some 17th c (ref a) 4 Screen, including sill: h. 195 x w. 135 x d. 6cm Beam: l. 364cm Threshold: h. 7∙5 x w. 111 x d. 33cm

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5-9 In 1897 there was a faculty ‘To remove the thick wall which at present fills up the Tower Arch and insert therein a glazed screen in order to let in more light. The builder was H. Burfoot, Builder and Contractor, Alma Road, Eton Wick, Windsor in accordance with his quotation dated 5th November 1897’ (ref b). 10 a) RCHMS p.128 b) ORO DIOC/1420

326 BOOKCASE LOWER NAVE

1 A free-standing black-stained pine bookcase with overlapping top, over two shelves and a base shelf with shaped apron. The plank sides form the feet and there is a one- piece back. It is currently used to store hymn books (item 610). 2 Pine 3 20th c 4 h. 62 x w. 35 x d. 16cm 5-10 -

327 TABLES Ph

327A NAVE 1 A rectangular oak table of joined construction with two-planked walnut top, the side edges having been cleated. There is a single, elm drawer of nailed construction, in the front frieze. A flat, decorated brass knob acts as the drawer pull. The top is set over four substantial elaborately turned walnut legs terminating in a square-framed stretcher base. Three legs are original and pole turned, the front left leg is a machine turned replacement. 2 Oak, walnut, elm, brass 3 17th c 4 h. 93 x w. 92 x d. 63cm 5-6 - 7-8 Bought in Bath with money donated by Mrs Lowry of Wakehams in 1940 (ref a). 9 - 10 a) ORO DIOC NADFAS Record 1974

327B FAMILY PEW

1 A table consisting of a mahogany top nailed to a pine, black lacquered base with two drawers of dove-tailed construction in the front frieze. The drawers have flush, bead-

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moulded fronts and metal bail handles with pierced backplates. The four, tapered, baluster-turned legs terminate in brown, ceramic castors. A case (item 604A) for the King James Bible rests on this table. 2 Mahogany, pine, lacquer, ceramic, metal 3 19th c 4 h. 74 x w. 103 x d. 51cm 5-10 -

327C FAMILY PEW

1 An oak table with two-planked top and thumbnail moulding on all four sides. There is scratch moulding on all four frieze rails and the whole is supported on four tapered columnar, baluster-turned legs terminating in chamfered, square terminals. There are four plain stretchers at floor level bound with metal. 2 Oak, metal 3 17th c 4 h. 57∙5 x w. 57 x d. 49∙5cm 5-10 -

328 GALLERY Ph PLAN NAVE, W

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328A 1 The Gallery extends from the S wall to the N wall, being recessed in the centre and arranged above the lower nave. The entrance gate abuts the N wall. The back of the gallery leads through a wooden gate in the W arch to the organ console. The gallery is supported by horizontal joists, mortised and tenoned into four substantial newel posts, which rise from the nave floor to above the handrail of the gallery. The newel posts are all 17cm square and surmounted by applied, turned ball newel heads 14cm in diameter, each with single incised ring around the circumference and collared. The internal corners on the nave side newels are chamfered while the two newels facing E are chamfered on the internal and external corners. Fascia boarding at the base of the gallery is mortised, tenoned and pegged. There is applied moulding along the top and bottom of the board. The single moulding at the top is inscribed with a scratch run-out pattern, the bottom is double moulded. Applied moulded muntins are shaped to fit over the lower moulding. There are two muntins on long east face and one each on other sections. There is a very faint painted name and date on the side of the fascia board facing the nave. ‘Henry Felo 1634’ (ref a). Exposed floor joists, mortised, tenoned and pegged into the newels have an ovolo moulded face. The lower parts of the newels are stop-chamfered on all four corners. The supporting beams on the S and N walls rest on newer stud work consisting of three on the S wall and four on the N wall. They are bolted to the wall between the bench newel posts and the gallery joists. Each support has three bolts which are covered by oak roundels, two being missing on the N wall. 2 Oak 3 1634 (ref a) 4 - 5-6 Henry Felo – ‘believed to be a Henry Fellows’ (ref a) 7-9 - 10 a) Ch G 1 p.10

328B STAIRS TO GALLERY Ph NAVE, W

1 The Gallery is reached by stairs at the N front corner, which turn at a ninety degree angle to the left and abut the N wall. There are eight treads, three winders followed by five regular treads with strings. The left string is capped, the right string being plain. The first two treads are butted to the back of pew 15. The banister, which comprises five square balusters, is on the left side of the top five stairs. Fixing is by means of straight edged centre newel post. The chamfered hand rail is secured by a wooden peg into the newel post, the top being nailed into the gallery rail. 2 Oak 3 Stairs: 17th c, Banister: n/a

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4 Banister: l. 136∙5cm Newel post: h. 58∙5 x w. 7 x d. 9∙4cm 5-10 -

328C GATE AND RAIL GALLERY

1 The gate is of simple, square frame construction with a flat panel in the lower portion surmounted by two gun-barrel, turned balusters, mortised, tenoned, pegged and reduced to lie flush with the frame. The gate is attached by two iron strap hinges on two pins to a half newel post, flat-topped and affixed to the north wall. An iron latch is affixed to the top rail. There is no metal catch on the securing half newel which has a cushion moulded head, but there is a shaped indent. The top rail (h. 11 x d. 7cm) has a chamfered top on both sides, a flat back and has a channelled decoration to front. It fits between the substantial newel posts, is in five sections and comprises gun barrel turned balusters (S to N: 3, 5, 9, 5, 2) which are mortised and tenoned with pegs into the top and lower rails, above the fascia board (h. 21cm). 2 Oak, iron 3 1634 (ref a) 4 Gate: h. 95∙5 x w. 81∙5 x d. 5cm Rail: S to N 1) h. 98 x w. 123 x d. 7cm 2) h. 98 x w. 159 x d. 7cm 3) h. 99 x w. 289 x d. 7cm 4) h. 99 x w. 159 x d. 7cm 5) h. 97 x w. 128 x d. 7cm 5-6 Henry Felo (ref a) 7-9 - 10 a) Ch G 1 p.10

329 BENCHES Ph GALLERY

1 There is fixed benching around the walls on three sides with a break in the middle under the W arch (item 209) for the gate to the organ (item 800) The benches against the walls are supported by slab and square legs except the sections in the aperture of the W arch which are supported by brackets that are tenoned into balusters. The backs of the benches are framed flat panels with pegged fixings, bevelled top and bottom rails and moulded muntins. There is scratch run-out moulding on the top rail of each panel and on the stiles.

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On the W wall, the backs consist of rail to floor balusters (five on each side), turned only on the section between the bench and top rail to match the rest of the gallery rail. A central bench in front of the gate is a one-piece pine plank with four pine supports, two slab and two post and slab. A rail has been added as a backrest which is fixed to the oak posts and supported by two pine struts diagonally fixed to the centre of a base bar at the rear. The S end of the bench is attached to the SW newel post of the gallery by a simple pine strut at floor level 2 Wall benches: Oak, pine Central bench: Pine, oak 3 Wall benches: 1634 (ref a) 4 Wall Benches: Wall Panels: h. 47∙5 x w. 334 x d. 26∙5cm h. 66 x w. 334cm h. 48 x w. 219 x d. 30cm h. 63 x w. 101∙5cm h. 50∙5 x w. 237 x d. 30cm h. 63 x w. 97cm h. 44 x w. 276 x d. 32cm h. 64 x w. 315cm Central Bench: h. 83∙5 x w. 310∙5 x d. 44cm 5-6 Henry Felo 7 The panelling is identical to that in the Parlour of Dorney Court. 8-9 - 10 a) Ch G 1 p.10

330 GATE TO ORGAN GALLERY

1 The gate is of framed construction with two balusters. A broken brass bolt is attached to the bevelled top rail. 2 iron barrel hinges are attached to the S section of the W bench 2 Oak, brass, iron 3 1634 4 h. 107 x w. 80 x d. 7∙5cm 5-10 -

331 BOOKRESTS WITH KNEELERS Ph GALLERY

1 The two identical bookrests with kneeling boards are free-standing, of varnished pine and of nailed construction. The sloping bookrests are bevelled on three edges, with a bookstop on the fourth. There is a shaped trim in two lengths on the front. One of these is missing on the N bookrest.

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The bookrests are supported on three slab supports which are narrower at the top, with simple elbow brackets on either side at the top and on the front edge at the base. The back brackets are wedges augmented by angled planks (untreated) supporting the angled kneeling board (also untreated). The back brackets at the base are cut at an angle to support a kneeling board. The middle support of the N kneeler is split. The base blocks are chamfered but squared off at the front. 2 Pine 3 - 4 h. 82∙5 x w. 182 x d. 18cm 5-10 -

332 COAT PEGS GALLERY

1 The pegs are inserted into exposed oak beams and set at intervals varying between 30 and 38cm. The pegs are hand-carved, round, with heads created by shaving away the top surface approximately 3cm from the end. There are seven pegs on the S wall with two places where pegs have been broken off and one where a light has been installed. On the N wall are eight pegs and one peg broken off flush to the timber. 2 Oak 3 17th c 4 Beams N and S: l. 348cm and l. 360cm Pegs: w. 11 x diam. 2cm 5-10 -

333 CUPBOARDS AND BOXING-IN VESTRY, S & N walls

1 S Wall: Two freestanding open-front wardrobes, the second one having a central divide. Both have curtains (item 411), curtain poles (item 344G) being attached to the front, the second one having a central support in the middle of the pole. The first wardrobe has a coat rail across the full width, the second one a coat rail in the E side only. N Wall: A run of three full length fitted cupboards, with a split unit between cupboards one and two. The split unit has a deep boxed-in pelmet then an open recess above a brick-lined low cupboard with a shelf. A single panel door, with two hinges, opens to the R. The three full length cupboards have R and L opening doors. Each door has three hinges, with a roller catch and loop handle. Cupboards one and two also have a central section, the doors each having three panels. Cupboard one has two shelves, number two has vents in the top and middle panels and houses a wall mounted boiler (item 804), thermostat and pump. The third cupboard is shallower and has plain

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flush doors. There is an applied notice board screwed to the top of the rh door. A switch board and fuse panel is inside this cupboard (item 802). Boxing-in: Two plain oak panels form a square to the N and E walls, with a plain pine top to hide a significant opening in the floor. There are four quatrefoils on the fixed side panel, the front panel is loose. Ancillary timber: Next to the boxing-in, there is an oak sill on top of the brick wall at dado height. Under the sill there is a plain oak plank screwed to the fascia of the brickwork. 2 Pine, oak, plywood 3 20th c 4 S wall: h. 196 x w. 138 x d. 61cm and h. 196 x w. 214 x d. 61cm N wall: h. 198 x w. 250 x d. 64cm (pelmet h. 32cm, low cupboard h. 92cm) h. 198 x w. 102 x d. 35∙5cm Boxing-in: h. 82 x w. 90 x d. 85∙5cm Sill: l. 122 x w. 24 x d. 3cm Plank: l. 85 x w. 16 x d. 3cm 5-10 -

334 DOOR Ph VESTRY/TURRET For doorway see Stonework 215

1 A single, unframed, pointed arched, untreated oak door. The door opens into the turret. Vestry Side Three vertical, feather lapped planks of varying widths. The door is studded with black metal, hand-made, rose-head, clenching nails. Furniture There is a shaped, iron, strike plate projecting from the opening edge of the door. There is a twisted loop handle on a black, metal plate which has three upper finials and two lower finials, secured by seven nails. Vertically, there are three keyholes cut into the door planks, the lower one being covered with a square, iron escutcheon, which is secured with four screws Tower Side Five horizontal chestnut planks fixed to the exterior with clenched nails. The top plank is missing. Furniture: The door is hung on two, iron, pin-hung hook and band hinges, each strap held by seven rivets. The pins are anchored into the W side of the stone doorway. There are two wooden lock boxes, with cut keyholes, at differing heights, the top one being empty and attached by four square-headed, black, metal screws. The lower box encloses a lock mechanism and is attached by four large-headed nails. Below them there is a black metal box housing a lock mechanism with a black metal plate in the entrance surround. There is a double metal staple in the wall at the E side.

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2 Oak, chestnut, metal 3 17th c 4 Door: h. 182 x w. 86∙5 x d. 5cm Furniture Vestry side Strike Plate : h. 28 w. 8cm Metal latch plate: h. 27∙5 x w. 8cm Furniture Tower side Hinge: h. 4 x w. 61cm Wooden Lock Boxes: h. 11∙5 x w. 20 x d. 3∙5cm Metal Lock Box: h. 18 x w. 6 x d. 4∙5cm Metal Plate : h: 12 x w 2∙5cm Metal Staple : h. 8 x w. 7cm 5-10 -

335 DOOR Ph VESTRY W Wall For doorway see Stonework 216 335A

1 Double doors, forming a pointed arch, opening inwards, unframed. The doors are double boarded, overlapping internally, studded, caulked and made of treated oak. Interior Each door has seven horizontal, 4cm thick planks of alternating length, enabling the doors to interlock when closed. Each door has a closing vertical strut. Clenched nails are visible. The S door has two further short struts, one mounted vertically and one horizontally which covers a hole to the exterior. The base plank has been added to provide extra strength to the doors. Furniture: Each door is attached to the frame by two pin-hung hook and band hinges. On the left door, the top strap hinge is attached with eight bolts and the bottom strap has seven bolts. On the right door there are six bolts on the top and seven on the bottom. On the inner edge of each door is an angled metal staple. Exterior Each door has three vertical planks, the majority of which have been scrafed. They are fixed to the inner planks with studs which are hand-made, rose-head, clenching nails fixed in a regular grid pattern. 2 Oak, sisal, tar, metal 3 17th c with 21st c restoration using old timber (ref a) 4 Interior: h. 241 x w. 79 (left door) 71 (right door) x d. 10cm Exterior: h. 233 w. 75cm (both doors) 5-6 Restored in 2008 by Colin Mantripp, Lillyfee Farm, Wooburn Common, Beaconsfield, Bucks. HP10 0LL

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7 The doorway was re-opened in 2008 (ref b) and the doors were restored using medieval techniques such as caulking with sisal string and tar between the vertical planks and scrafing. Scrafing is where two pieces of wood are joined ‘invisibly’ by cutting a v shape in two planes to create a tight match. The timbers used for patching were old oak. 8-9 - 10 a) Colin Mantripp b) 602 Faculty

335B CROSSBAR

1 New oak securing crossbar accommodated in two voids within the stone walls of the doorway and secured by a substantial peg on centre of bar. There is a carved centre cartouche of a quatrefoil with broken field inside an inscribed circle. The inscription, in roman caps to the lh reads REFURBISHED / BY C. MANTRIPP OF LILLYFEE / DECEMBER 2008 / . The rh inscription reads REDEDICATED / BY REV. LUCY HOLT VICAR / 4th JANUARY 2009 / . The peg, for securing the crossbar, is of a darker new oak. It has a bevelled, shaped top, mortised and tenoned into a chamfered, shaped and tapered upright. The upright slots behind the bar between two iron staples set in the central door struts, the top resting on the bar. 2 Oak 3 2008 4 Crossbar: h. 23 x w. 180 x d. 4cm Peg: h. 38 x w. 20∙5 x d. 6cm 5-6 Colin Mantripp, Lillyfee Farm, Wooburn Common, Beaconsfield, Bucks. HP10 0LL 7 - 8 4th January 2009 9-10 -

336 CRUCIFIX X 2 Ph VESTRY

336A 1 This beechwood latin cross has minimal shaping on the top three terminals and a finely carved boxwood Corpus Christi pinned to it. 2 Beech, boxwood 3 - 4 Cross: h. 59 x w. 57 x d. 5cm Christ: h. 35 x w. 27cm

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5-10 -

336B A plain, latin, stained pine cross with plaster corpus Christi. Some damage to left arm. h. 36 x w. 17cm

337 DOOR Ph TURRET/RINGING CHAMBER For frame see Stonework item 219

1 This door is of similar construction to item 334. Opening into the Ringing Chamber. Exterior: Three feather-lapped vertical planks. Furniture: Two shield-shaped key escutcheons each secured by three iron nails. There are two metal staples on the door jamb which do not correspond with the escutcheons. Interior: Six horizontal chestnut planks Furniture: Two pin-hung strap hinges with square ends and secured with 8 rivets each. A latch with barley-twist handle. The back-plate has an offset curved finial at each corner and a central top hemisphere finial, secured by 5 screws. 2 Oak, chestnut, metal 3 17th c 4 Door: h. 187 x w. 71 x d. 4cm Strap hinge: h. 4 x w. 64cm Latch plate: h. 8 x w. 27∙5cm 5-10 -

338 BENCH Ph RINGING CHAMBER

1 The bench is of treated pine with a tongue and grooved back of nine planks. The bench seat is 5cm thick and let into two slab ends and is open under the seat. There is a trefoil moulding applied to back and ends. 2 Pine 3 - 4 h. 94 x w. 154 x d. 46cm 5-10 -

339 TABLE RINGING CHAMBER

1 A pine side table with angled corners, two slab legs and a pegged, chamfered stretcher. A section of one leg has been cut away.

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2 Pine 3 - 4 h. 59 x w. 187 x d. 35cm 5-10 -

340 DESKS X 2 RINGING CHAMBER

1 Two identical flat-topped school desks, of treated pine, with four legs. Two legs are tapered and flush with the corners, the other two legs are straight and out of line from the flush skirt trim to enable stacking. 2 Pine 3 - 4 h. 55 x w. 91 x d. 38cm 5-10 -

341 DOOR Ph TURRET/BELL CHAMBER For doorway see Stonework 220

1 Exterior: Single rectangular door of treated pine. Five vertical, tongue and grooved planks. Interior: n/a Furniture Two iron hinges, simple brass knob and collar and an oval escutcheon, fixed with two screws. 2 Pine, brass, iron 3 - 4 Door: h. 165 x w. 59cm Oval brass escutcheon: h. 4∙5 x w. 3cm 5-6 7 The Bell Chamber door is kept locked and access has not been possible. 8-10 -

342 STAIRS TURRET

Inside the tower, on the top of the stone stairs (item 218), two wooden stairs, the top one consisting of four pine planks cut to fit round the remains of the original stone step. This forms a standing platform and facilitates access to the roof.

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343 DOOR TURRET/ROOF For doorway see Stonework 222

1 A chestnut door in a square frame opening onto the tower roof. Interior: Three vertical planks with three horizontal struts, secured by nails clenched on this side. A glazed section has been let into the upper central plank to provide light to the staircase. Furniture: Two strap hinges and an iron draw-bolt secured by four screws Exterior: Three vertical planks, secured to interior struts with clenched nails. Furniture: Two tapered iron strap hinges on the right side. Eight screws fixing mitred frame to door and five rows of iron nails clenched on the inside. 2 Chestnut, metal, glass 3 - 4 h. 185 x w. 90 x d. 5cm Hinge: w. 9∙5cm Glass: h. 36 x w. 23.5cm 5-10 -

344 SUNDRIES

344A SHELF CHANCEL, S wall Shelf made to fit over radiator (item 804). Black painted MDF, shaped front panel and two rear legs with stretcher. h. 64 x w. 61 x d. 29cm. 344B TABLES X 2 CHANCEL, S & N wall a) Rhomboid-shaped table with straight legs on sill of window (702). Stained plywood top. h. 46 x w. 77-30 x d. 46cm. b) Trapezium-shaped table on sill of window (710). It has a central circular hole cut out of the stained plywood top. There is a plain panel part-way down lh side.. Plain, square legs. h. 46 x w. 61-33 x d. 45-53cm. 344C DONATION BOX NAVE A varnished oak, lidded box, of mitred and dove-tailed construction with two brass hinges. The lid has a central slot (5 x 0∙7cm) and square ebony and boxwood stringing. Two applied oak struts fit round a bench book rail (item 320 (7)) and a heavy chain secures the box to the gallery newel post. h. 19∙5 x w. 15 x d. 15cm 344D BOARD NAVE, N wall Oak double panelled board shaped to fit onto sill of old door arch (item 211). w. 107 x d. 53cm. 344E TRAY NAVE, N wall Large, plywood, stained tray with straight lip, on item 344D. h. 3 x w. 103 x d. 43cm. 344F STOOLS X 2 FAMILY PEW

WOODWORK Page 29 of 30 ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

Two square stools with burgundy red velvet padded seat and covered sides. A pine frame with dark-stained, bun feet. One has an additional block to the base to provide a slope. 29 sq x d. 16∙5 to 25∙5cm. 344G DONATION BOX VESTRY Plain box with two slots on the top labelled Donations and Payments and on the front a label Guide Books and Donations. The chipboard base, in three parts, padlocked either side to box.. h. 20 x w. 31 x d. 18 cm. Base h. 1.5 x w. 49 x d. 18 cm. 344G CURTAIN POLES X 4 VESTRY Gilt painted curtain poles with rings and shaped finials. l. 143cm; 149cm; 223cm and 250cm approx.. 344H GILT PAINTED CHAIRS X 3 Gilt painted chair with inset pink velvet covered seat. Vertical slatted back, turned front legs, no stretcher between back legs. h. 29 x w. 39 x d. 40cm. 344 I BOX RINGING CHAMBER Oak box with 8cm deep, hinged lid, of dovetail construction. Two brass hinges and keyhole. The ring changes are kept in this box. h. 38 w. 38 x d. 21∙5cm. 344J PLATFORMS X 2 RINGING CHAMBER Two untreated pine, standing platforms for ringers. Two plank tops with two splayed slab supports and drop face supports front and back. (a) h. 26∙5 x w. 51 x d. 45cm (b) h. 15 x w. 51 x d. 45cm. 344K DONATION BOX RINGING CHAMBER 1 Treated pine donation box for visiting campanologists. Standard construction with simple slot, two hinged lid, padlock loop and staple. h. 17 x w. 31 x d. 20cm.

345 ROOF Ph CHANCEL, GARRARD CHAPEL, NAVE, PORCH are all completely ceiled. VESTRY a) Over E end of the vestry the Gallery floor was extended in 20th c to support the organ, forming ceiling for half of vestry. Nine chamfered oak joists running S/N and oak floorboards w. 17cm running W/E. b) Roof over W end of vestry has twelve substantial square oak beams running S/N. Beams 1 and 12 are set into walls, beams 2, 3 & 4 cut away on S side. Beam 6 cut away on N side and stepped by short cross-beam. Broad oak floorboards exposed on S side run S/N in typical Jacobean fashion, showing clenched nails. TOWER, Ringing Chamber Fibre board with metal reinforced holes for bell ropes. There is a central wooden ring with 6 metal hooks for bells ropes. TURRET Marine-ply supported by four oak joists, two having been reinforced. A pine strip has been nailed across three of the joists. An old pine flagpole, with worm holes, provides a centre prop for the marine-ply ceiling board under the tower’s lead capping.

WOODWORK Page 30 of 30 ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

300 ALTAR

301 ALTAR CROSS

301 (Detail)

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

302 CREDENCE TABLE

303A COMMUNION RAIL (From W)

303A COMMUNION RAIL (From E)

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

304 CHOIR STALLS

304 CHOIR STALLS (S)

POPPY HEAD 304 READING DESK (Detail)

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

304 CHOIR STALLS (N)

305 PRIEST’S STALL 305 PRIEST’S DESK

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

306 ROOD SCREEN (From CHANCEL)

306 ROOD SCREEN (From NAVE)

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

307 LECTERN & PLATFORM

308 GATES TO CHAPEL ( From CHANCEL)

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

308 GATES (From CHAPEL)

308 (Detail)

308 (Detail)

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

310 ALTAR

311 BENCH

312 FRONTAL CHEST

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

313 CROSS 314 BACKSTOOL

315 CANDLESTICKS 317 LITANY DESK

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

318 PULPIT

318 Latch 318 (Detail)

318 PEDESTAL

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

319 HYMN BOARD

320 BENCHES

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

321 FAMILY BOX PEW

321 INTERIOR BOX PEW S E CORNER AND 327B TABLE

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

321 INTERIOR BOX PEW N W CORNER

322 SOUTH DOOR INTERIOR EXTERIOR

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

323 PORCH GATES EXTERIOR

324 NOTICEBOARD

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

325 SCREEN

327A TABLE

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

328 GALLERY

328 GALLERY NW

328 INSCRIPTION HENRY FELO 1634

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

329 BENCH SW Corner 331 BOOKREST SE Corner

335 DOOR VESTRY TO TURRET

334 FROM VESTRY 334 FROM TURRET

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

335 WEST DOOR 335 INTERIOR CROSSBAR (Detail)

335 EXTERIOR

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

336A CRUCIFIX

337 RINGING CHAMBER DOOR

FROM TURRET FROM CHAMBER

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

338 BENCH

341 BELL CHAMBER DOOR

WOODWORK ST. JAMES THE LESS, DORNEY, WOODWORK BUCKINGHAMSHIRE

345 ROOF

345 VESTRY

345 RINGING CHAMBER CEILING

345 BELL CHAMBER ROOF

WOODWORK ST JAMES THE LESS, DORNEY, TEXTILES BUCKINGHAMSHIRE

All items in this Section are 20th or 21st c and the condition appears to be satisfactory unless otherwise stated.

400 FRONTALS AND SUPERFRONTALS Ph GARRARD CHAPEL, frontal chest

400A Purple Frontal and Superfrontal 1 Purple damask frontal and attached superfrontal are in the Fairford design (ref a). The two orphreys, (w. 14cm), each side of the central design, are formed by two lengths of a metallic gold-coloured and purple silk braid, (2∙5cm). The central design consists of a laurel wreath worked in couched gold-coloured metallic cord. Encircled by a wreath is a central IHS in humanist caps script with a latin cross through the H. This is worked in a heavy gold-coloured lamé fabric, couched and outlined in green cord. It is enclosed by a barbed quatrefoil, in a thick rope style gold-coloured metallic cord. The lower edge is defined by a gold-coloured silk fringe, (7cm). The attached superfrontal has a matching fringe. Attached to the frontal and superfrontal is a white cotton altar cover. The frontal has a canvas interlining and cream cotton lining. On the reverse is a name tape with the words C.S.J.B. CLEWER WINDSOR worked in red silk caps. Also within a braid rectangle, is a memorial inscription in caps and l/c, embroidered on a white background in purple thread. 2 Damask, cotton, canvas, metallic braid, cord and fabric, thread, silk fringe, lamé 3 1994 4 Frontal: h. 95 x w. 248cm Superfrontal: h. 22 x w. 248cm Altar cover: h. 88 x w. 248cm 5-6 C.S.J.B. Clewer Convent Windsor Berks 7-8 A member of the congregation. 9 Given in memory of Olive Stacey 1994 10 a) Wippell 1989 p.9

400B (i) Cream Frontal and Superfrontal 1 Cream damask frontal and attached superfrontal with pomegranate and leaf design. Two orphreys, (w. 7∙5cm), each side of the central fleurée cross are formed by lengths of heavily designed, machine embroidered cream silk, depicting leaves, flowers and doves. This is enclosed by gold-coloured metallic braid, (2∙5cm). The central fleurée cross is worked in ‘old gold’ coloured metallic fabric and gold- coloured cord couched in green silk thread. The arms of the cross are surmounted by a small purple basket weave pomegranate and cross. The lower edge is defined by a gold-coloured, tan and cream fringe, (6cm). The attached superfrontal has a matching fringe.

TEXTILES Page 1 of 20 ST JAMES THE LESS, DORNEY, TEXTILES BUCKINGHAMSHIRE

The cream linen altar cover is attached to the frontal and superfrontal. There is a canvas interlining and fawn cotton lining. Above the cross, beneath the superfrontal, is a damask patch. Worked on this in plain stitch in green silk thread is a memorial inscription in caps and l/c. On the reverse of the frontal is a name tape, with the words worked in red silk caps., MADE BY C.S.J.B. CLEWER WINDSOR. 2 Damask, linen, canvas, cotton, silk, metallic fabric, metallic cord and thread, glass beads, silk thread, braid, fringe 3 1979 4 Frontal: h. 96 x w. 247cm Superfrontal: h. 18∙5 x w. 247cm Altar cover: l. 86 x w. 247cm 5-6 C.S.J.B. Clewer Convent Windsor Berks 7-8 William Ames and Petra Raffell were members of the congregation. There is a window in memory of William Roger Ames (item 707) 9 Given in Memory of William Roger Ames and Petra Raffell 1979 10 -

400B (ii) Cream Frontal and Superfrontal 1 Cream damask frontal and attached superfrontal with a floral and foliated design. The front is divided by four orphreys into three panels. The orphreys, (w. 14cm), are of burgundy red and gold-coloured metallic brocade each defined by a green and gold-coloured metallic braid, (1∙5cm). The panels are identical. At the centre is a shield above which is a fleur-de-lys crown. The shield is of appliquéd burgundy red silk, outlined by couched gold-coloured metallic thread. Within this, also in gold- coloured metallic thread is ihs, in l/c gothic script. The stylised crown is of a green and gold-coloured metallic brocade which is outlined by dark burgundy red silk metallic gold-coloured thread. The crown and shield are surrounded by an appliquéd trailing stylised design of leaves, pomegranates and roses. The green leaves and the pink roses are of velvet. The pomegranate is of a burgundy red silk, brocade and gold-coloured metallic thread. The lower edge is defined by a green, gold-coloured and deep rose coloured silk braided fringe, (6cm). The attached superfrontal has a matching fringe, (5cm). On the superfrontal above each frontal orphrey is a ‘Rose without a Thorn’ worked in burgundy red silk, pink velvet and gold-coloured metallic thread surrounded by a sunburst also in gold- coloured metallic thread. This motif is within two green and gold-coloured braid strips. Attached to the frontal and superfrontal is a fawn calico altar cover which also forms the lining for the frontal. There is a canvas interlining.

TEXTILES Page 2 of 20 ST JAMES THE LESS, DORNEY, TEXTILES BUCKINGHAMSHIRE

2 Damask, brocade, silk, calico, canvas, velvet, braid, metallic thread, silk thread, fringe 3 - 4 Frontal: h. 92 x w. 268cm Superfrontal: h. 22 x w. 268cm Altar cover: l. 98 x w. 268cm 5-10 -

400C Green Frontal and Superfrontal ALTAR 1 Green silk frontal and attached superfrontal. The central design is of a latin cross with sun rays enclosed within a circle of wheat heads. The appliquéd cross is of a synthetic gold-coloured material, outlined by two rows of green silk thread couched with metallic gold-coloured thread. The sun rays are worked in silk thread in shades of yellow, red and orange in long and short stitch. The wheat is in gold-coloured silk thread in long and short stitch. At each side of the central motif are three panels depicting stalks and tares of wheat. These are worked using gold-coloured metallic thread and silk thread in shades of cream, yellow, orange and brown in satin stitch. The attached superfrontal has the words OPEN YOUR EYES AND LOOK AT THE FIELDS! THEY ARE RIPE FOR HARVEST (John Ch. 4 v. 35) in imperial caps worked in pale green silk thread. At each side are three heads of wheat; they are formed using gold-coloured silk stump work with orange cord feature. The stalks are of gold-coloured metallic thread with further satin stitch embroidery in silk thread in autumn colours. The frontal and superfrontal is interlined and lined with a cream synthetic fabric. This is extended to form an altar cover and is held in place by a metal rod. 2 Silk, interlining, synthetic fabric, metallic fabric, metallic cord, silk thread, metal 3 2011 4 Frontal: h. 95 x w. 248cm Superfrontal: h. 25 x w. 248cm Altar cover: l. 98 x w. 248cm. 5-6 The green altar frontal was made by Christine Chant, John Dollimore, Raya Halstead, Gill Hayton, Jean Liney, Muriel Pepler, Mena Tretheway and Angie Wood-Dow with advice and support from Alison Hassell and Joy Richmond (ref a). 7 - 8 Dedicated October 23rd 2011 by the Archdeacon 9 - 10 a) 603B Log Book.

TEXTILES Page 3 of 20 ST JAMES THE LESS, DORNEY, TEXTILES BUCKINGHAMSHIRE

400D Burgundy Red Frontal and Superfrontal 1 Burgundy red damask frontal and attached superfrontal are of a rose and pineapple design (ref a) and burgundy red velvet. The frontal is divided with two orphreys enclosing a central decorated panel, two decorated side panels and two end panels. The orphreys, (w. 34∙5cm), and the end panels, (w.16cm), are of burgundy red velvet. The central panel, (w. 67cm), is of burgundy red damask. It has a central ihc in l/c gothic script worked in gold- coloured metallic thread, couched with red silk thread. In the upper corners are stylised chalices worked in long and short stitch, using silk thread of gold-coloured, green and rust colours and also gold-coloured metallic thread couched in red silk thread. In the each lower corner is a stylised design of a pineapple with leaves worked in the same colours and stitch as the chalice. Each side panel, (w. 46cm), is of burgundy red damask. Worked on this is the design of pineapple and leaves, as on the central panel. There is also a stylised lily worked in the same colours and stitches. The upper 12cm of the frontal is of burgundy red velvet. All panels and orphreys are separated from each other by a burgundy and red gold- coloured silk braid, (1∙5cm). The lower edge is defined by a rust and gold-coloured metallic thread fringe, (7∙5cm). The superfrontal matches the frontal with panels of damask and velvet, separated by braid. At the lower edge is a burgundy red silk fringe (4cm). Within the three damask panels are the words sanctus in gothic l/c. They are appliquéd and worked in gold-coloured silk thread covered by a basket weave design and outlined in gold coloured and metallic thread. The central sanctus is flanked by an appliquéd stylised Tudor rose, worked in long and short stitch in shades of gold-coloured silk and gold-coloured metallic thread. Attached to the frontal and superfrontal is a grey linen altar cover. There is a canvas interlining and lining of khaki waxed linen. 2 Damask, velvet, silk fabric, waxed linen, linen, canvas, silk thread, metallic thread, braid, fringe 3 - 4 Frontal: h. 92 x w. 264cm Superfrontal: h. 22 x w. 264cm Altar cover: l. 86 x w. 264cm 5-7 - 8 The first pineapple to be grown in England was grown at Dorney Court (ref a). 9 - 10 a) D Ct 2

400E Orange Frontal 1 Orange in a contemporary synthetic textured fabric. The central design is of a stylised seaweed collage. The collage is composed of strands of seaweed radiating from a central circle, which encloses a patée cross. The

TEXTILES Page 4 of 20 ST JAMES THE LESS, DORNEY, TEXTILES BUCKINGHAMSHIRE

strands, cross and circle are worked in a variety of fabrics in hues ranging from purple to green, with some glass bead-work, sequins and gold coloured metallic thread work. A cream canvas altar cover is attached to the frontal. There is a canvas interlining and cream cotton sateen lining. Since this item was recorded, and before it could be photographed, it has been removed from the church and has not been located. 2 Synthetic fabric, cotton fabric, canvas, silk, netting, taffeta, sequins, glass beads, metallic thread 3 - 4 Frontal: h. 97 x w. 336cm Central design overall: h. 92 x w. 62cm Altar cover: l. 107 x w. 335cm 5-10 -

400F Cream Superfrontal VESTRY 1 A cream silk superfrontal, attached to a cream linen altar cloth. The words in a stylised lombardic caps appear along the length of the front. VERBUM CARO FACTUM EST ET HABITAVIT IN NOBIS

Translation:. The word was made flesh and dwelt amongst us; John Ch. 1 v. 14. They are worked in green silk, outlined with red silk thread. Each word is separated by a Tudor rose in shades of pink, cream and green silk thread. At the lower edge is a green and cream silk fringe, (5cm). In poor condition. 2 Silk, linen, silk thread 3 - 4 Superfrontal: h. 15 x w. 240cm Overall, including altar cloth: l. 240 x w. 112cm. 5-10 -

401 BURSE AND VEIL Ph VESTRY

401A (i) Purple Burse and Veil 1 Book style burse in purple silk grosgrain. The front is divided into quarters by purple and gold coloured decorated silk braid (2∙5cm). The reverse is of purple cotton sateen. Both sides are edged by a purple and cream twist cord. The cardboard stiffening is covered by cream cotton lining. The veil is of the same grosgrain fabric, design of decorative braid and cord as the burse.

TEXTILES Page 5 of 20 ST JAMES THE LESS, DORNEY, TEXTILES BUCKINGHAMSHIRE

2 Silk grosgrain, cotton fabric, braid, cord, cardboard 3 - 4 Burse: 22∙5cm sq Veil: 52cm sq 5-10 -

401A (ii) Purple Burse and Veil 1 Book style burse of purple silk damask of the Fairford design (ref a). The front has IHS in stylised imperial caps with Latin cross through the H. The letters are worked in a gold-coloured lamé fabric surrounded by couched gold-coloured metallic thread. Both sides are edged with purple twist cord. The cardboard stiffening is covered by a white cotton lining. The veil is of the same damask. The IHS is worked as the burse and placed in the centre lower half of the veil. The lining is of synthetic gold-coloured silk satin . 2 Damask, synthetic fabric, cotton fabric, lamé, cardboard, metallic thread, cord 3 - 4 Burse: 23cm sq Veil: 56cm sq 5-9 - 10 a) Wippell 1989 p.9

401B Cream Burse and Veil Book style burse in cream silk damask in Tudor rose design (ref a). At the centre front is a patée fitched cross. Around the edge are six acanthus leaves, four scallop shells in the corners and gold-coloured metallic thread scrolls. The cross is worked in blue silk thread and gold-coloured metallic thread couched. The acanthus leaves are worked in long and short stitch in various shades of green silk thread highlighted with gold-coloured metallic thread. The scallop shells are worked in the same stitch in oyster colour silk thread, highlighted with gold-coloured metallic thread. The edges are defined by blue silk and gold-coloured metallic twist cord. The stiffener is covered with a white cotton lining. The veil is of the same damask with the design of acanthus leaves and scallop shells worked as on the burse. At the centre of the lower half is a stylised fleurée cross worked in blue silk and metallic gold-coloured thread, couched. The edges are defined by scrolls worked in gold-coloured metallic thread and cord as on the burse. The lining is blue synthetic silk satin. 2 Damask, cotton fabric, synthetic fabric, cord, silk thread, metallic thread, stiffener 3 - 4 Burse: 21cm sq Veil: 43cm sq

TEXTILES Page 6 of 20 ST JAMES THE LESS, DORNEY, TEXTILES BUCKINGHAMSHIRE

5-9 - 10 a) Wippell 1989 p.10

401C Green Burse and Veil 1 Book style burse of green silk damask of the Bamfield design (ref a). At the centre front is a moline cross worked in gold-coloured metallic thread outlined with burgundy red silk thread and couched. The sides are edged by a blue and gold- coloured silk braid and green and gold-coloured twist cord. The cardboard stiffener is covered by cream cotton lining. The veil is of the same damask with a moline cross in the centre lower half worked as the burse. At the edges is a decorated burgundy red and gold-coloured silk braid. The lining is of turquoise cotton. In a worn condition. 2 Damask, cotton fabric, cardboard, silk braid, metallic thread 3 - 4 Burse: 23cm sq Veil: 58cm sq 5-9 - 10 a) Wippell 1989 p.10

401D Red Burse and Veil 1 Book style burse in red silk damask in the Litchfield design (ref a). At the centre front is a patonce cross worked in satin stitch in gold-coloured silk thread. The edges are defined by a red and gold-coloured silk braid. The stiffening is covered by a white cotton lining. The veil is of the same damask, the patonce cross and braid are as the burse. The lining is of a matching synthetic silk sateen. 2 Damask, cotton fabric, braid, silk thread, stiffening 3 - 4 Burse: 22cm sq Veil: 56cm sq 5-9 - 10 a) Vanpoulles Ltd catalogue 1993/4 p.41

401E Blue Burse and Veil 1 A book style burse in blue silk. The front edges are defined by a dark blue and cream braid (1cm). The cardboard stiffening is covered by a cream cotton lining. The veil is of the same silk with cream silk on the reverse. Identical braid surrounding the edges. On the centre front is ihc in l/c gothic script, within a quatrefoil. All is worked in cream silk feather stitch out-lined by a fine burgundy red silk cord.

TEXTILES Page 7 of 20 ST JAMES THE LESS, DORNEY, TEXTILES BUCKINGHAMSHIRE

2 Silk, cotton, braid, cardboard, thread, cord 3 - 4 Burse: 20cm sq Veil: 55cm sq 5-10 -

401F Cream Burse and Veil 1 A book style burse in cream silk. Gold-coloured braid, (3cm), depicting vine and wheat, forms a cross on the front. Gold-coloured cord surrounds the edges. The cardboard stiffening is covered by cream cotton lining. The veil is of the same silk with a gold-coloured silk lining. The braid forming the cross and the cord are as the burse. In poor condition. 2 Silk, cotton, braid, cord, thread, cardboard 3 - 4 Burse: 30cm sq Veil: 52cm sq 5-10 -

401G Green Burse and Veil 1 A book style burse in green silk grosgrain. The edges of the front are defined by a gold colour and purple braid, (2 cm). At the centre front is a stylised Greek cross with splayed ends. It is worked in two rows of couched gold-coloured metallic thread, within which are rays in green silk back stitch. The cardboard stiffening is covered by cream cotton lining. The veil is of the same silk with blue silk lining. The braid and stylised cross design are identical to the burse. In poor condition. 2 Silk, cotton, braid, metallic thread, silk thread, cardboard 3 - 4 Burse: 30cm sq Veil: 55cm sq 5- 10 -

401H Gold-coloured Burse and Veil 1 A book style burse in gold-coloured silk. The outer edges are defined by red silk braid, (0∙6cm). The cardboard stiffening is covered by a fine cream damask lining. The words CHRISTIAN EVIDENCE SOCIETY in caps is stamped in purple ink on the inside. 2 Silk, damask, braid, cardboard 3 -

TEXTILES Page 8 of 20 ST JAMES THE LESS, DORNEY, TEXTILES BUCKINGHAMSHIRE

4 21cm sq 5-6 CHRISTIAN EVIDENCE SOCIETY is a U.K. Ecumenical Christian charity, which seeks to proclaim, defend and study Christian faith. Formed to combat the lack of Christian belief in Victorian society. 7-10 -

401 I Red Veil 1 A veil in burgundy red silk damask with red cotton sateen lining. Around the edges is a red and gold-coloured braid, (1∙5cm). At the centre front is IHS intertwined in imperial caps. This is worked in gold-coloured silk thread in satin stitch. 2 Damask, cotton sateen, silk braid, thread 3 - 4 45cm sq 5-10 -

402 STOLES Ph VESTRY

402A Purple Stole 1 A purple grosgrain tapered stole. At the angled centre back is a purple velvet panel, (w. 13cm) edged by a gold-coloured and purple silk braid. At the centre is a Greek cross of the same braid. There are a further two velvet panels, (w. 6∙5cm) positioned further down the stole, one on each side. At the lower end, 10cm from the edge, is a further band of matching braid. The stole is finished with a braid headed purple and cream silk fringe (4cm). Damaged. The lining is of a matching cotton sateen. 2 Grosgrain, velvet, cotton sateen, braid, fringe 3 - 4 l. 214 x w. 12 tapering to 8cm 5-10 -

402B (i) Cream Stole 1 Cream silk damask tapered stole. At the centre back is a large oval amber-coloured plastic bead, enclosed by gold-coloured couched metallic thread. At each end are three similar beads in amber, green and cream colours. These are surrounded and separated by petals worked in satin stitch in turquoise silk thread. Each petal is highlighted by couched gold-coloured metallic thread. The edges are enclosed by red and gold-coloured silk braid. At the lower edge is a gold-coloured and burgundy red silk fringe (7cm). The lining is of matching silk taffeta. 2 Damask, taffeta, braid, thread, fringe, plastic beads, metallic thread

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3 - 4 l. 240 x w. 10 tapering to 6∙5cm 5-10 -

402B (ii) Cream Stole 1 A cream damask tapered stole with yellow cotton sateen lining. At the centre back is a Greek cross formed by a gold-coloured metallic thread and burgundy red silk braid. Two further strips of this braid are placed 18 and 15cms from the ends which are finished with a gold-coloured silk (3cm) fringe. 2 Damask, cotton sateen, metallic thread, braid, fringe 3 - 4 l. 200 x w. 15 tapering to 8∙5cm 5-10 -

402C Green Stole 1 Green synthetic fabric tapering stole. The fabric is textured in a floral design. At the centre back is a patée fitched cross in gold-coloured silk fabric. At each end is a similar cross. The stole is finished by a green and gold-coloured silk fringe (7cm). The lining is gold-coloured cotton sateen. On the reverse is a name tape with Vanheems & Wheeler London stitched in black caps and l/c. 2 Synthetic fabric, silk fabric, cotton fabric, fringe 3 - 4 l. 210 x w. 10 tapering to 5∙5cm 5 - 6 Vanheems & Wheeler London 7-10 -

402D White Stole 1 A white cotton tapered stole. At the centre back is a fleurée cross worked in red silk chain stitch which is repeated at both ends which are finished with a white cotton knotted fringe. On the reverse is a name tape, E.T.Sherlock is printed in black gothic caps and l/c. 2 Cotton fabric, silk thread, name tape. 3 - 4 l. 248 x w. 9 tapering to 5cm. 5-10 -

TEXTILES Page 10 of 20 ST JAMES THE LESS, DORNEY, TEXTILES BUCKINGHAMSHIRE

403 MANIPLE Ph VESTRY

1 A green damask tapered maniple with a blue cotton sateen lining. At both ends is a heavily decorated greek cross with splayed ends and sun rays. It is worked in gold- coloured metallic thread with an outline of green thread all on a burgundy red silk background which is surrounded by metallic gold-coloured, blue and red braid. A blue and green silk fringe, (w. 7cm), is attached at both ends. Midway on the maniple is a patée cross worked in gold-coloured metallic thread with red silk outline. There is elastic for attachment. 2 Damask, cotton sateen, fringe, braid, metallic thread, silk thread, elastic 3 - 4 l. 47 x w. 8 tapering to 5∙5cm. 5-10 -

404 PULPIT FALLS Ph GARRARD CHAPEL, frontal chest

404A (i) Purple Fall 1 Purple damask (ref a) pulpit fall, matches altar frontal 400A and burse and veil 401A (ii). At the centre front is IHS in imperial caps with a latin cross through the H, worked in gold-coloured lamé fabric and outlined with a couched green cord. The IHS is enclosed by a barbed quatrefoil identical to the frontal. The lining is gold-coloured silk satin. The lower edge is finished as the frontal, by a gold-coloured silk fringe, (7cm). The back half is stiffened by a board on which is embroidered, in purple thread, an inscription in caps and l/c. 2 Damask, synthetic fabric, lamé, metallic cord, silk thread, cord, braid, fringe, stiffening, elastic 3 1994 4 l. 55∙5 x w. 36cm 5-6 7-8 George Smith was a member of the congregation (ref b) 9 1994 Given in memory of George Smith 10 a) Wippell 1989 p.9 b) Mrs Liney, a present member of the congregation.

404A (ii) Purple Fall VESTRY 1 A purple velvet fall. At the centre front is an appliquéd patonce cross and circle. The cross is worked in cream silk satin stitch, outlined with gold-coloured metallic thread. The circle is defined by six rows of gold-coloured metallic thread, in-filled

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with red and purple stitching. Sun rays radiating from the motif worked in gold- coloured metallic thread and red silk thread. The lining is of a purple cotton sateen. At the lower end is a purple and cream silk fringe, (5cm) There is elastic for attachment. In faded and poor condition. 2 Velvet, cotton fabric, metallic thread, silk thread, fringe, elastic 3 - 4 l. 54 x w. 23cm. 5-10 -

404A (iii) Purple Fall VESTRY 1 A purple silk fall. At the centre front is as aiguissée cross with a central ihs in gothic l/c script. This is all entwined with a crown of thorns. The cross is formed by six rows of cream silk stitching couched with brown silk thread. The ihs and crown are stitched in gold-coloured metallic thread couched in brown thread. The lining is purple linen. There is elastic for attachment. In faded condition. 2 Silk, linen, silk thread, metallic thread, elastic 3 - 4 l. 55 x w. 37cm. 5-10 -

404B Cream Fall GARRARD CHAPEL, frontal chest 1 Cream damask fall matches altar frontal 400B (i). At the centre front is a fleurée cross worked in a gold-coloured metallic fabric and gold-coloured cord, identical to the frontal. The gold-coloured, tan and cream silk fringe, (6cm) at the lower end is as the frontal. The lining is in cream cotton sateen. The back half is stiffened by a board with elastic for attachment. 2 Damask, cotton fabric, metallic fabric, metallic cord, silk thread, fringe, stiffener, elastic 3 - 4 l. 64 x w. 35cm. 5-10 -

404C (i) Green Fall GARRARD CHAPEL, frontal chest 1 Green damask fall. At the centre front is highly decorated appliquéd Greek cross. At its centre is a large faceted plastic bead with four but smaller similar beads at the junctions of the arms. The cross is outlined by four rows of couched metallic gold- coloured thread, within which are rows of small red and orange cylindrical beads.

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The lining is of a synthetic gold-coloured silk satin. The lower edge is finished with a heavy gold-coloured metallic fringe, (7cm). The back half is stiffened with a board with elastic for attachment. On the reverse is a name tape in red silk caps MADE BY C.S.J.B.CLEWER WINDSOR. Above this is a strip with 1987 embroidered in red chain stitch. 2 Damask, synthetic fabric, metallic thread, silk thread, beads, fringe, stiffener elastic 3 1987 4 l. 54 x w. 35cm 5 - 6 C.S.J.B.Clewer, Windsor 7-10 -

404C (ii) Green Fall VESTRY 1 Green silk damask fall of the St Aiden’s design (ref a). At the centre front is a large appliquéd scallop shell, worked in cream silk thread in long and short stitch and defined with gold-coloured metallic thread couched with red silk thread. The lining is of the same damask. At the lower end is a burgundy red silk and green fringe, (5cm). There is elastic for attachment. In a faded condition. 2 Damask, metallic thread, silk thread, elastic, fringe 3 - 4 l. 54 x w. 33cm. 5-9 - 10 a) Wippell 1989 p.9

404D (i) Burgundy Red Fall GARRARD CHAPEL, frontal chest 1 Burgundy red damask fall. The central IHS with the S intertwined is worked in old gold-coloured silk satin stitch gothic caps. A heavy braid of embattled design in red and gold-coloured silk forms a panel enclosing the central motif and continuing to form a boarder. The lining is of matching cotton satin. The lower end is finished with the same braid and a fringe of gold coloured silk, (5cm). There is elastic for attachment. In a faded condition. 2 Damask, cotton fabric, braid, fringe, silk thread, elastic 3 - 4 l. 53 x w. 37cm 5-10 -

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404D (ii) Red Fall VESTRY 1 A burgundy red velvet fall, surrounded by a silk trimming, (5cm) of a red and gold- coloured silk rose design. At the centre front is an appliquéd patée formée cross and circle. Both are worked in silk thread of a burgundy red and old gold-colour. The lining is cotton sateen in a similar shade. At the lower end is a silk fringe, (7cm) in gold-coloured and burgundy red. In a faded condition. 2 Velvet, silk trimming, silk thread, fringe, cotton fabric 3 - 4 l. 62 x w. 42cm. 5-10 -

404E Orange Fall GARRARD CHAPEL, frontal chest 1 Orange pulpit fall matches altar frontal 400E. Orange, contemporary, synthetic textured fabric. The design is of stylised seaweed collage. This is composed of strands radiating from a central point, which is worked in heavy gold-coloured metallic thread. The strands are worked in a variety of fabrics in hues ranging from purple to green with glass bead work and gold-coloured thread work. The lining is of the same orange fabric with a cardboard interlining and elastic for attachment. 2 Synthetic fabric, silk, netting, taffeta, sequins, glass beads, metallic thread 3 - 4 l. 57 x w. 36cm. 5-10 -

405 ALMS BAGS Ph VESTRY

405A Purple Bag 1 A traditional flat style bag in purple velvet. At the centre front is a highly decorative stylised pomée cross. This is worked in fine gold-coloured metallic thread and metallic gold-coloured cord. There is an interlining and lining of purple silk sateen. In a worn and faded condition. 2 Velvet, silk fabric, interlining, metallic thread, metallic cord 3 - 4 h. 23 x w. 16cm 5-10 -

405B Cream Bags 1 Three traditional flat style bags in heavy cream silk floral patterned damask depicting purple passion flower with leaves.

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The bags are bordered by a green silk cord. There is an interlining and lining of cream cotton sateen. In a worn condition. 2 Damask, cotton fabric, interlining, cord 3 - 4 h. 26 x w. 16cm 5-10 -

405C Cream Bag 1 A traditional flat style bag in cream silk damask. At the centre front is a stylised fleurée cross. This is worked in pale shades of orange and gold coloured silk thread stump work. The bag is bordered by a cream silk cord. There is an interlining and lining of the same damask. In a worn and faded condition. 2 Damask, interlining, cord, silk thread. 3 - 4 h. 26 x w. 15cm 5-10 -

406 BOOK MARKS Ph VESTRY

406A 1 A bookmark in burgundy red silk grosgrain. At one end is a latin cross worked in thin gold-coloured silk cord satin stitch with couched outline. At the other end is IHS incorporating a latin cross in gothic caps worked as before. At both ends is a fringe, (w. 4∙5cm) of gold-coloured silk. 2 Silk, cord, thread, fringe 3 - 4 l. 114 x w. 5cm 5-10 -

406B 1 A bookmark in burgundy red silk grosgrain. At one end is a bottonée cross worked in gold-coloured silk thread satin stitch. At the other end is IHS in imperial caps intertwined. The ends of the letters forming a bottonée cross worked as before. At both ends is a fringe, (w. 4∙5cm) of gold-coloured silk. 2 Silk, silk thread, fringe 3 - 4 l. 116 x w. 5cm

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5-10 -

407 COMMUNION LINEN VESTRY

407A Credence Clothes 1 linen with 6cm lace border l. 98 x w. 38cm 1 linen hand stitched with 4∙5cm drawn thread work and crochet border l. 72 x w. 30cm 3 synthetic lace l. 48 x w. 28cm 1 cotton with small central stylised cross hand stitched in white cotton chain stitch l. 90 x w. 39cm 1 linen with 5cm lace border l. 92 x w. 35cm 1 heavy linen with hand stitched 20cm drawn thread work and crochet border l. 123 x w. 57cm 407B Purificators 3 linen with central small stylised cross in white cotton thread 26cm sq 407C Lavabo Towels 1 linen hand stitched with drawn thread work border l. 57 x w. 34cm 407D Corporal 1 synthetic fabric with a central small white work patonce cross 50cm sq 407E Palls 3 linen with hand stitched drawn thread work borders 21cm sq 3 double thickness linen 14cm sq 1 linen with pocket. At the centre front a hand stitched motif of a Phoenix in white work 15cm sq 1 linen with a central patée cross worked in white cotton chain stitch 15cm sq 1 lawn with a motif of a chalice, vine and wheat in white work 12cm sq 1 linen with a central stylised cross in white work 14cm sq 2 linen 13cm sq 407F Burse 1 linen in the envelope style, hand stitched with a central stylised cross in white work l. 19∙5 x w. 15cm 1 linen in the envelope style with a central cross in white work l. 17 x w. 14cm 407G Humeral or Offertory Veil 1 linen with drawn thread work border. There are tape ties at the opposite edge. l. 86 x w. 53cm 407H Miscellaneous 2 linen squares with raw edges

408 ALTAR CLOTHES VESTRY

2 in a synthetic fabric with three centrally placed aiguisée crosses machined in chain stitch. l. 340 x w. 73cm 1 linen machine stitched l. 294 x w. 68cm

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1 linen hand stitched at the hems l. 332 x w. 79cm 1 linen hand stitched drawn threadwork at the bottom with 3 centrally placed aiguisée crosses worked in double rows of chain stitch. l. 300 x w. 76cm 1 linen with central stylised flower motif, with four further motifs placed midway to the border. 1. 334 x w. 68cm 1 cotton with centrally placed patée cross l. 334 x w. 38cm 1 linen hand stitched with drawn thread work borders and white work floral motifs at each corner. l. 112 x w. 70cm Miscellaneous 1 synthetic fabric hand stitched square cloth 112cm sq 1 linen hand stitched square cloth with 18cm drawn threadwork and crochet borders. 105cm sq

409 ALTAR COVER ALTAR

1 altar cover in a green synthetic fabric with hand stitched hems. l. 336 x w. 66cm

409 KNEELERS Ph IN THE BODY OF THE CHURCH

409A 4 Kneeling pads in wool canvas work in tent stitch, in colours of cream, green, burgundy red and old gold colour. The design is alternate lattice of a Tudor rose and fleur-de-lys. The reverse is heavy green cotton material. h. 2∙5 x w. 36 x d. 27cm.

409B 10 Kneelers in dark blue wool canvas work in tent stitch. The central design of the Chi Rho symbol with Alpha and Omega is in shades of gold colour and cream. The sides are of a blue synthetic fabric. The reverse is blue leatherette. The filling is foam. There are white plastic rings on blue tape for attachment to the pews. 3 Kneelers worked in thick blue/grey wool, but otherwise identical to above. h. 2∙5 w. 36 x d. 24cm

409C 10 Kneelers in dark blue canvas work in tent stitch. The central design of a Latin cross is in cream wool. The sides are blue synthetic fabric. The reverse is blue leatherette. The filling is foam. There are plastic rings for attachment to the pews. h. 5∙x w. 36 x d. 24cm

409D

1 11 Kneelers in wool canvas work in cross stitch. The background colour is burgundy red with a central shield in scarlet, within which is the symbol of St James, the saw, with silver blade (ref a). On the side are the words in capitals in gold-coloured wool,

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ST JAMES THE LESS (ref b). On the reverse is a white label, supplied with the kit, on which there is a dedication as shown in the table below. The reverse is hessian. The filling is foam.

1 other kneeler identical to the above but with the addition of a small Latin cross on the tip of the saw, each side of which are two narrow parallel lines in gold-coloured wool. All the following were members of the congregation.

Design Worked by Donated by Dedicated to

“St James the Less” Gill Hayton Joe Hayton Rachael Hayton “ Audrey Wooler Susan Handy My Aunt Natalie Ross “ Margaret Perryman Vera Dover Perryman Family “ Margaret Perryman George James Perryman Family Smith “ Margaret Perryman Elsie Mary Perryman Family Smith “ Sheila Boyle Michael & Keith & J Dyson Margaret Dyson “ Sheila Boyle Mrs Peregrine Mrs Philip Palmer Palmer “ Mrs A Hatton Mrs Hatton Mr & Mrs A Elliot “ Sheila Boyle Alison Jack & Ivy K “ Mrs Joy Alistair P Richmond “ Undecipherable

2 Wool, canvas, hessian, foam, label. 3 Last quarter 20th c 4 h. 8 x w. 37 x d. 26∙5cm 5 Jacksons of Hebden Bridge P.O. Box 60 Hebden Bridge HX7 5ZE. Kit KM096 “St James the Less” 6 See above table 7 - 8 See above table 9 - 10 a) SSS p.13 b) Jacksons of Hebden Bridge 2002 catalogue p.5

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409E 2 Kneeling pads in royal blue wool canvas work in tent stitch. The central patonce cross is worked in two shades of gold-coloured wool and the central halo in pale blue wool. The reverse is of blue leatherette. l. 39 x w. 29cm 409F 1 Kneeling pad in burgundy red wool canvas work in cross stitch. The design, Jacksons of Hebden Bridge Kit KO13 “Three fishes” catalogue 2005 p.8, is of three fishes is worked in gold-coloured wool, with pale green eyes and gills (ref a). The reverse is hessian with a non-slip rubber mesh attached. At the centre top of the reverse in blue ink are letters in u/c B.M.A. The filling is foam. h. 3∙2 x w. 36 x d. 26cm 409G 1 Kneeler in burgundy red wool canvas worked in cross stitch. The design by Jacksons of Hebden Bridge. Catalogue 2005 p.9 Kit KO15 “Choral” is a motif of music sheet and notes are worked in cream, grey and green wool. The words SING TO THE LORD in caps are in gold-coloured wool. On the side is B.M.A. in cream wool caps. The reverse is hessian the filling foam. h. 8∙5 x w. 37∙5 x d. 26∙5cm 409H 1 1 Kneeler in blue/grey wool canvas work in tent stitch. The design shows two guardian angels holding a Chi Rio banner all worked in gold-coloured wool. On either side in white wool caps is SAINT JAMES. The borders are of a blue synthetic fabric. The reverse is blue leatherette with a plastic ring and tape for attachment to the pew. h. 5∙5 x w. 27 x d. 23cm. 409I 1 Kneeler in royal blue canvas work in cross stitch. The design shows a Latin cross in gold coloured wool, a dove in white and stylised flora in white and grey. The reverse is hessian. The filling is foam. The Jacksons label is unidentifiable. h. 7 x w. 38 x d. 27cm 409J 6 Kneelers in a red carpet fabric with black stylised design with fleur-de-lys. The reverse is in various fabrics, some torn, all in poor condition. The sizes vary between h. 13 x w. 40 x d. 30cm and h. 15 x w. 36 x d. 26cm. 409K 3 Kneelers in a light canvas material, machine woven with a design of stylised birds and flora in brown and cream. The reverse is canvas, all in a worn condition. The sizes vary. There are matching pew cushions. h. 15 x w. 30 x d. 30cm.

410 SEAT CUSHIONS and CUSHIONS

410A GARRARD PEW 3 Brown and cream decorated canvas seat cushion. Padded and with covered buttons. Matched Kneelers (item 409K). Two cushions: l. 192 x w. 40cm. One cushion: l. 270 x w. 40cm.

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410B IN BODY OF CHURCH 6 Blue felt pew seat covers, with a design of fleur-de-lys. l. 217 x w. 30 cm 410C VESTRY One brown synthetic fabric cushion with zip. 40cm sq

411 CURTAINS VESTRY

7 curtains, of different sizes, made of burgundy-red and gold-coloured furnishing weight synthetic fabric with a design of scrolls and acanthus leaves. The lining is of cream cotton sateen. There is curtain tape and metal hooks for attachment. Two curtains: l. 178 x w. 268 cm Two curtains: l. 178 x w. 200 cm One curtain: l. 190 x w. 200 cm Two curtains: l. 270 x w. 268 cm Two panels, of the same fabric, cover each side of a wooden frame which fits into position either side of the vestry entrance screen (item 324). l. 100 x w. 130cm

412 CARPETS

There are lengths of mottled green, short pile wool carpeting. ALTAR, in front of: One length: l. 357 x w. 100cm ALTAR RAIL: Three lengths: two: l. 218 x w. 31cm; one (tacked to rail) l. 124 x w. 31cm NAVE AISLE: l. 1062 x w. 100cm FAMILY PEW (item 321): Rug with burgundy red geometric design with a fringe at either end. Very poor condition. l. 245 x w. 145cm. GARRARD CHAPEL: A burgundy red short pile wool rug in a floral and geometric design. l. 60 x w. 30 cm RINGING CHAMBER: Sage green wool carpet. 300cm sq. Burgundy red wool carpet. l. 360 x w. 275cm A geometric patterned rug in hues of blue, green and rust. l. 270 x w. 115cm A geometric patterned rug in hues of pink and green. l. 286 x w. 110cm Seven various sizes of small sample and ‘off cuts’ of carpet.

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400 FRONTALS & SUPERFRONTALS

400A Purple

400A (Detail)

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400B (i) Cream

400B (ii)

400B (ii) (Detail)

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400C Green

400C (Detail of text)

400C (Detail)

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400D Burgundy red

400D (Detail)

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400F Cream Superfrontal

401 BURSE & VEILS

401A (i) 401A (ii)

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401 BURSE & VEILS

401B 401C

401D 401E

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401 BURSE & VEILS

401F

401G

401 H &

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402 STOLES A B(i) B(ii) C 403 MANIPLE

404 PULPIT FALLS

404A 404A (ii)

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404 PULPIT FALLS

404 A (iii) 404B

404C (i) 404C (ii)

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404D (i) 404D (ii)

404E

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405 ARMS BAGS

405A 405B 405C

406 BOOK MARKS

406A 406B

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409 KNEELERS

409A 409B 409C

409D 409E 409F

409G 409H 409 I

TEXTILES ST. JAMES THE LESS, DORNEY, PAINTINGS ETC BUCKINGHAMSHIRE

The condition of items in this Section appears to be satisfactory unless otherwise stated.

500 There are no ROYAL ARMS

501 HATCHMENT Ph NAVE. N wall

1 Painted on a lozenge-shaped wood board with a black frame and inner gilt painted moulded fillet. 121cm sq. Frame: d. 5cm All black ground Blazon: Or two bars Gules each charged with three trefoils slipped Argent, in chief a greyhound courant Sable, in fess point the Badge of Ulster [PALMER] Crest: A demi-panther guardant Argent semy of roundels Azure holding in its paws a palm branch Proper Mantling: Gules Or Motto: PALMA VIRTUTI – Translation: Palm of Virtue Supporters: Two lions rampant guardant Argent (ref a) Sir Charles Harcourt Palmer, d 19 February 1838, was the 6th and last baronet of Dorney Court. His marriage to his cousin, Caroline Bonin, was never established with the Heralds’ College, thus the Baronetcy is not used today. He was a JP and Deputy Lieutenant for Buckinghamshire (ref b). The hatchment has the distinguishing mark for baronets – a white shield charged with a sinister open hand couped at the wrist, Gules. There is a coffin plate for Sir Charles in the Family Pew (item 016). a) HB Vol 4 p.57 b) D Ct 1 p.11

502 THE LORD’S PRAYER BOARD Ph NAVE, S wall

1 The Lord’s Prayer is painted onto a rectangular board, rounded at the top. The text is in black roman lettering, mixed caps and l/c, with the title in red, on a discoloured cream ground. The board is made up of 6 wooden horizontal planks of various widths and is surrounded by a moulded, wooden frame painted black and red. It is attached to the wall with metal brackets. The text is faded in places with some letters undecipherable.

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The Lord’s Prayer. Our Father which art in Heaven. Hallowed be Thy name. Thy Kingdom come Thy will be done in earth, as it is in heaven Give us this day our daily bread And forgive us our trespasses as we forgive them that trespass against us. And lead us not into temptation. But deliver us from evil. For Thine is the kingdom the power and the glory for ever and ever. Amen. d Rich . Sedding. }Churchwardens David Peryman. } 1785

2 Wood, paint, metal 3 1785 4 h. 112 x w. 80 x d. 4∙5cm 5-10 -

503 DECALOGUE BOARDS (pair) Ph NAVE, S and N walls

1 The Ten Commandments are displayed on either side of the nave. They are painted on matching wooden vertical boards surrounded by a wooden moulded frame, painted black. The board on the S wall displaying the second six under the heading ‘Chap XX’ and that on the N wall displaying the first four Commandments under the heading ‘Exodus’. The headings are in caps with flourished initials and arranged to form a rounded arch. The text is in black roman lettering, caps and l/c on a discoloured cream ground. The archaic style  is used in some places to represent s. The Commandments are separated by centred roman numerals in caps. Translation of roman numbers: I, II, III, IIII, V,VI, VII, VIII, IX, X. 1 2 3 4 5 6 7 8, 9, 10.

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A fictive frame, rounded at the top, has been painted within the main frame in shades of red and pink, now faded. In each of the spandrels at the top appears a winged cherub’s heads in grisaille on a faded, dark blue ground. The panels are attached to the wall with metal brackets. Both are darkened by age and there are visible splits between the planks.

503A COMMANDMENTS (V-X) NAVE, S wall

Made of 6 vertical planks. The capital ‘C’ of CHAP is a versal.

V Honour thy father and thy mother that thy days may be long in the land which the Lord thy God giveth thee. VI Thou halt do no murder. VII Thou halt not commit adultery. VIII Thou halt not teal. IX Thou halt not bear ale witnes againt thy neighbour. X Thou halt not covet thy neighbours houe, thou halt not covet thy neighbours wife, nor his servant, nor his maid, nor his ox, nor his as, nor any thing that is his.

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503B COMMANDMENTS (I-IIII) NAVE, N wall

Made of 5 vertical planks. There is a vertical split between two boards. Some of the text is indistinct. The capital ‘E’ of EXODUS is a versal

I Thou halt haue none other Gods but me. II Thou halt not make to thy el any graven image, not the likenes of any thing that is in heaven above, or in the earth beneath, or in the water under the earth. Thou halt not bow down to them, nor worhip them: For I the Lord thy God am a jealous God,and viit the ins of the fath- ers upon the children, unto the third and fourth generation of them that hate me, and hew mercy unto thouands in them that love me, and keep my Commandments. III Thou halt not take the Name of the Lord thy God in vain: for the Lord will not hold him guiltles that~ taketh his Name in vain. IIII Remember that thou keep holy the Sabbath-day. Six days halt thou labour, and do all that thou- hat to do, but the seventh day is the Sabbath of the Lord thy God. In it thou shalt do no manner of work, thou, and thy son, and thy daughter, thy man-ervant, and thy maid-ervant, thy cattle, and the tranger that is within thy gates. For in fix days the Lord made heaven and earth, the ea, and all that in them is, and reted the eventh day; wherefore the Lord bleed the eventh day, and hallowed it.

2 Wood, paint, metal

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3 18th c (ref a) 4 h. 224 x w. 135 x d. 4·5cm 5-6 - 7 These boards were the subject of some controversy in 1843 when they were removed from the chancel E wall and replaced by classical sculptures, at the request of Sir John Palmer. Sir John was patron of the church and High Sheriff of Buckinghamshire for that year and had instigated and paid for a series of repairs. An exchange of twelve letters occurred in ‘The Times’ newspaper in January 1843 between an anonymous complainant, who objected to the changes, and Palmer, who vehemently defended his actions (ref a). It is not noted when the boards were re- hung in their present position in the nave. 8-9 - 10 a) ‘The Times’ newspaper, January 1843

504 DISPLAY PANEL Ph Dr NAVE, W wall

1 Inside a rectangular panel, glazed and with a narrow gilt wood frame, are displayed a number of items relating to A B the memorial window of Charles I in the S wall nearby (item 705). The display panel has recently been remounted and reframed..

C E D

F

A Original sketch for the window design depicting Charles I in watercolour on card, signed by Lt. J.H.Moriarty and dated 1914. B A black and white photograph of Vicar James Moriarty, seated, with his son Lt James H Moriarty, RGA, in uniform standing to his left. C The professional scale drawing for the window of Charles I in pen, ink and watercolour on paper. D Another smaller pen, ink and watercolour design on paper for an unrelated window depicting St James Major. E A printed explanatory note.

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CHARLES I MEMORIAL WINDOW

Provision for the window was made in the will of Lieut J H (“Jack”) Moriarty, R.G.A., only son of the Reverend James Henry Moriarty, vicar of Dorney. He asked for the placing of a stained glass window “in Dorney Church, in the south wall under the gallery, to contain a figure of Charles, King and Martyr”

Mr. Moriarty served in France with the 2 nd. Siege Battery in 1914; mentioned in despatches; wounded; and with the 18 th Siege Battery in 1915; killed October 12 th. 1915. Buried at Bethune; aged 22 years and 9 months.

The rough sketch for the window was made by him while at home wounded. The work was carried out by Mr E Stanley Watkins of Ealing. The figure of King Charles is after the picture by Van Dyck in Windsor Castle, but shown crowned and holding the orb and sceptre. Above is a celestial crown and palm branches.

Shown here are the original sketch, the fair copy by Mr. Watkins and Jack Moriarty with his father.

F A printed card with original donor’s name and date, Henry Palmer, 1987 2 Wood, glass, paper, mount board 3 Frame: April 2012. A: 18th December, 1914 B: 1914 C & D: c 1920 E & F: April 2012 4 Overall: h. 52 x w. 44 x d. 4cm. A: h. 18·5 x w. 13cm B: h. 18 x w. 13cm C: h. 14 x w. 10cm D: h. 14 x w. 12cm E: h. 11∙5 x w. 11∙5cm F: h. 1∙5 x w. 11∙5cm 5 A: Jack Moriarty 1914 C & D: E. Stanley Watkins of Ealing, c 1920 (ref a) 6 J. Manley Gallery, Picture Frame Makers, 27 High St, Eton, Berks

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7-8 The display panel was donated by Henry Palmer in 1987. Palmer was Lt James (Jack) Moriarty’s much younger cousin, his mother being the sister of Revd James Moriarty who was vicar at Dorney during the WWI and Jack’s father. Wounded in 1914, Jack made a sketch for a stained glass window depicting Charles I. The following year he was killed in action and his parents had the window (item 705) made up and installed in Dorney church according to his wishes (ref a). Reframed April 2012 (ref b). 9 - 10 a) ORO DIOC/1420 Faculties b) RG

505 WALL PAINTING FRAGMENTS Ph NAVE, W wall

1 (i) On the W wall (tower) of the nave at gallery level is a rectangular patch of plaster crossed by tawny markings on a cream ground, possibly the remains of a 17th c text (ref a). (ii) On the NE side of the tower arch (item 209) at eye level is a second rectangular patch of plaster, this one showing reddish-brown colouration on a cream ground, once decipherable as a nimbed figure framed within a small niche of the 14th c (ref a). 2 Paint on plaster 3 17th c (ref a) 4 (i) h. 66 x w. 76cm (ii) h. 47 x w. 35cm 5-6 - 7 E.W.Tristram, in 1955, claimed that the patch of painting (ii) once held 'traces of a nimbed figure framed within a small arch’ (ref b). (i) and (ii) were restored in 1987 (ref c) 8-9 - 10 a) E. Clive Rouse, Records of Bucks Vol XII-No. 7 1933 p. 399-401 b) E.W. Tristram, English Wall Painting of the Fourteenth Century, London, 1955. p.166. c) Ch G 1 p.8

506 LIST OF INCUMBENTS Ph NAVE, N Gallery pillar

1 The list of names from 1265-1982 is written on white paper and presented on a rectangular board, glazed, with an elaborate, moulded gilt painted wood frame. The text is handwritten in italic caps and l/c, in red, green, gold and black ink. The title is in caps with first letters in gold, the rest in red. A Jerusalem cross in red and

PAINTINGS ETC Page 7 of 18 ST. JAMES THE LESS, DORNEY, PAINTINGS ETC BUCKINGHAMSHIRE gold follows. Subsequent titles are in caps with gold first letters, the rest in green. Dates and names are in black with red additions. SAINT JAMES DORNEY  RECTORS

1265 Rowland 1274 July 2nd. Thomas de Radington Nicholas de Spiervierville 1306 Jeffrey de Wycombe 1308 Jan: 12th. Henry Staley 1310 Richard de Farenden Richard de London 1340 Edward Mayne 1343 Nov: 7th. Thomas de Colyngham 1343 Reyner de Aston 1350 Thomas de Thornby 1361 William Pule de Hadbury 1361 William Shirpenlake

VICARS

John Elsfield 1390 William Brockhampton 1391 William Carleton 1393 Robert Tolyn 1394 Thomas Cosyn 1399 Lawrence Breton 1399 Simon Chapman 1404 Walter Skott (alias Cook) 1409 Geoffrey Huntingdon 1415 Henry Turnour 1416 John Monk 1416 John Walcombe 1418 John Lanton 1419 William Preston Thomas Batys 1471 John Yngland 1508 Richard Marchant 1511 John Jeffry 1515 William Bolton ( 1553) Augustine Cross 1550 Thomas Hodson Augustine Cross (restored) 1563 Peter Ellis William Lockerus 1572 Lawrence Montague 1580 Joseph Freewill

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1583 Thomas Johnson 1596 Thomas Baker 1633 William Flood 1667 Rowland Jones 1685 Thomas Herring 1698 July 19th. John Griffith 1699 Sept: 25th. William Dodd 1729 Alexander le Hunt 1735 George Grasmith 1747 John Griffiths 1776 William Anthony 1788 George Buxton 1832 Henry Palmer (+ 1865) 1856 Lambert Campbell Edwards 1868 Erasmus Valentine Mason 1885 Nov: 27th. James Archer 1908 Oct: 12th. Arthur Ainsworth Sharp 1914 March 30th. James Henry Moriarty 1927 Francis Walter Ford 1934 Richard FitzThomas Fleming 1943 Arthur Clement Adcock 1960 Ewart Templeman Sherlock Priest’s·in∙charge & Wardens of the Dorney Eton College Project 1971 Roger Michael Royle 1974 John Alan Robert Methuen 1977 Paul Henry Wishaw Hawkins 1982 Ronald Johnson

2 Wood, paint, glass, paper 3 20th c 4 h. 85 x w. 30 x d. 5cm 5-10 -

507 BENEFACTORS’ BOARD MRS ELIZABETH SEDDING VESTRY/TOWER, S wall

1 A rectangular board of 5 horizontal planks in a simple moulded wooden frame, the outer edge of which is painted black. The text is painted in black on a discoloured cream ground in roman lettering, caps and l/c of different sizes. Numbers are in arabic numerals. The letter s is sometimes written as f.

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M RS E L I Z A B E T H S E D D I N G by her WILL dated 29th day of MAY 1810 £ S D bequeathed to this Parish 250.11.2.Reduced£3 per Cent Annuities in trust to MONTAGUE GROVER r Esqre M HENRY BEAL,and MrThomasHawkins the Annual dividends of fuch ftock to be paid to the Overseers for the time being, of the POOR of the PARISH of DORNEY. and SHE directed fuch Overseers on St THOMAS’s DAY in every year to pay the Clerk of the parish for the time being two shillings and fixpence to keep HER Grave or Vault free from weeds or grafs, and to distribute the residue of fuch annual div -idends between fuch of the POOR WIDOWS of the Parish of DORNEY as the faid Overseers fhall think PROPER. She further directed that when and fo often as the faid TRUSTEES fhall be reduced to ONE that then and fo often as the fame shall happen the remaining TRUSTEE for the time being fhall tranffer the faid ftock to himfelf and two other TRUSTEES to be Chosen at A VESTRY to be Called for that purpose In the faid Parish of DORNEY. JOHN SINGER OVERSEERS JOSEPH TRUMPER 1819

It is fixed to the wall of the tower, behind the gallery, with metal brackets, and is largely obscured by the organ and impossible to photograph. It is in poor condition with damage to the frame on the right hand side and splits between the planks. 2 Wood, paint, metal 3 19th c 4 h. 114 x w. 74 x d. 5cm 5-10 -

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508 BENEFACTORS’ BOARD MRS PARKER SEDDING Ph VESTRY/TOWER, S wall 1 A rectangular board of 4 vertical planks in a simple moulded wooden frame, the outer edge of which is painted black. The text is painted in black on a neutral ground in roman lettering, caps and l/c of different sizes. Numerals are mixed roman and arabic. The letter s is written as f in some places. The board is fixed to the wall with metal brackets.

Whereas Mrs PARKER SEDDING Of Baylies farm in the Parish of , Wi dow being desirous of giving Two hundred Pounds for the benefit of the Parish of Dorney in the County of Bucks in all succeeding times. In gratitude to God Almighty for the blefsings She formerly received in That Parish, did on the eighth day of May in the year Eighteen hundred and Thirty cause, to be invested the said sum of Two hundred Pounds in the purchase of Three hundred and thirty three Pounds six shillings and eight pence Old South Sea Annuities, in the name of the Re verend George Buxton Vicar, and Thomas Hawkins and David Perryman, Churchwardens of the said Parish of Dorney, and their Succefsors for the time being. In Trust that they and their Succefsors do from time to time apply the Interest and Dividends thereof, to and for the advantage of the poor Inhabitants of Dorney,giving the preference in all cases to poor Widows, by distributing Bread amongst them upon the days of the Birth, the Cruci fixion, the Resurrection, and the Glorious Ascension into Heaven of Our Blessed Redeemer Or at such other times as they and their Successors shall think proper or by such other means as they and their Successors shall from time to time judge to be more beneficial to the poor Inhabitants of the said Parish of Dorney giv ing preference to Widows as aforesaid.

Dated this 7th HENRY PALMER Vicar day of Decr in the Year of JOHN SINGER} Churchwardens JEREMIAH DELL} of the Parish Our Lord of Dorney. 1835.

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2 Wood, paint, metal 3 19th c 4 h. 129 x w. 82 x d. 4·7cm 5-10 -

509 WALL PAINTINGS Ph GARRARD CHAPEL ARCH, W & E side

1 On either side of the entrance arch to the Garrard chapel on the N chancel wall are the remains of a 14th c Annunciation scene painted onto plaster in a range of earth pigments and black. On the W side the winged, nimbed figure of the Angel Gabriel stands under a pointed canopy. He is wearing a red and pink cloak which falls over a white gown. His right hand is held up in front of him in greeting and his head is turned to his left facing across the open archway towards the figure of the Virgin Mary. She is painted standing on the E side of the archway, nimbed and veiled, facing towards him and carrying a yellow book with a clasp. She is dressed in a dark tunic with a white mantle gathered over it, fastened by a brooch. She stands under an elaborate, crocketed arch. The paintings have become more indistinct since they were uncovered in 1926. 2 Paint on plaster 3 14th c (ref a) 4 W side: h. 124 x w. 35cm E side: h. 125 x w. 38cm 5-6 - 7 During the medieval era, wall paintings covered large areas of parish church walls Following the Reformation in the mid 16th century they fell foul of Puritan ideas and were whitewashed over. These fragments were found by Col. C.H.D. Palmer during repair work in 1926 and subsequently examined and treated by Mr E.C.Rouse in 1932 (ref a). The top and inner areas of the scene were destroyed by the enlargement of the arch in the 17th c (ref a). In 1955 Tristram could still see a scroll in the angel's hand (ref b). 8-9 - 10 a) E. Clive Rouse, Records of Bucks Vol XII-No. 7 1933 p.400-401. b) E.W. Tristram, English Wall Painting of the 14th century, London 1955 p 166.

510 CHURCH BELL RINGERS CERTIFICATE Ph GARRARD CHAPEL, S wall

1 A printed Certificate issued by Oxford Diocesan Guild of Church Bell Ringers to Colonel Palmer when elected a Member dated 22nd April, 1967 No. 12,440. Signed

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in ink by the master, Elliot Wiggs, and the secretary. The information is carried within a printed architectural canopy in gothic style. The certificate is framed in a moulded black plastic frame with gold dentelle edging, glazed. The paper certificate is affected by damp markings. Suspended by a wire. 2 Paper, ink, plastic, glass 3 1967 4 h. 31 x w. 26∙5 x d. 1∙3cm 5-6 C.T. Hunt Ltd. Printers. Crowthorne, Berks. 7-10 -

511 LIST OF INCUMBENTS Ph GARRARD CHAPEL, N wall

1 A rectangular panel in a glazed, Oxford pegged wood frame. Handwritten in bastard caps and l/c script on. The first line, a quotation, is in red caps and blue l/c ink. There follows a numbered list of the rectors and Vicars of Dorney from AD 1265 in black ink. Some script is indecipherable. Badly marked by damp and affected by insect infestation. Suspended by wire.

Let Thy Priests be clothed with righteousness Psalm 132 v 9.

List of Rectors and Vicars of Dorney from A. D. 1265.

Name of Rector. Date of Institution. Patron. 1 Rowland 1265 Sir Ralph Danvers 2 Thomas de Radington July 2 1274 The Bishop. (next year made subdeaconus by the Bishop 3 Nicholas de Spiervierville died 1306 4 Jeffrey de Wycombe 1306 In dispute. 5 Henry Staley Jan 12 1308 John de Lude. 6 Richard de Farenden 1310 7 Richard de London exchanged for Taplow with 8 Edward Mayne 1340 Abbess of Burnham 9 Thomas de Colyngham March 1340 King Edward 3rd 10 Reyner deAston the temporalities of Exchanged for Inkborough Burnham Abbey being then in Kings hands 11 Thomas de Thornby 1350 12 William Pule de Hadbury 1361 Burnham Convent resigned same year

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13 William Shiripenlake 1361 Name of Vicar 1 John Elsefield Exchanged for Streatham with 2 William Brockhampton 1390 3 William Carleton 1391 exchanged for Weston Northants with 4 Robert Tolyn 1393 deprived for non residence 5 Thomas Cosyn 1394 6 Lawrence Breton 1399 exchanged with 7 Simon Chapman 1399 8 Walter Skott alias Cook 1404 resigned 9 Geoffry Huntingdon 1409 resigned for Bradhurst Chantry Sussex ? 13 10 Henry Turnour 1415 exchanged for Ethingham Sussex 11 John Monk exchanged for South 1416 Stoneham Hants with 12 John Walcombe resigned 1416 13 John Lanton 1418 exchanged for Chantry in Salisbury Cathedral with 14 William Preston 1419 15 Thomas Batys died 1471 16 John Yngland 1471 17 Richard Marchim 1508 18 John Jeffry 1511 19 William Balton died 1553 buried 1515 etc 20 Augustine Cross deprived for 15 21 Thomas Hodgson 1550 William Garrard Augustine Cross restored ? of Eton died 1562 22 Peter Ellis d 1572 1563 23 William Lockerus buried 1569 24 Lawrence Mountague 1572 buried (Dec 16 1580 25 Jasper Freewill resigned 1583 1580 26 Thomas Johnson 1583 27 Thomas Baker buried here 1632 1596

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28 William Flood 1633 James Palmer 29 Rowland Jones 1667 Philip Palmer 30 Thomas Herring 1685 Anne Palmer 31 John Griffith July 19 1698 King William III by lapse 32 William Dodd Sep ? 1699 Philip Palmer Esq 33 Alexander le Hunt 1729 Sir Charles Palmer 34 George Grosmith 1735 Sir Charles Palmer 35 John Griffiths 1747 36 William Anthony ? 1782 1776 ? H Palmer 37 George Buxton 1788 38 Henry Palmer 1832 39 Lambert Campbell Edwards 1856 Rev Henry Palmer 40 Erasmus Valentine Mason 1868 Charles J Palmer Esq 41 James Archer Nov 1885 42 Arthur Ainsworth Sharp Charles H D Palmer Esq 43 James Henry Moriarty Mar 30 March 30 1914 “ 1914 44 Francis Walter Barton Ford Sept:r 27.th 1927 Colonel C.H.D Palmer. 45 Richard Fitz Thomas Fleming. 1931 ? “ m.a.

2 Wood, glass, paper, ink 3 1939 4 Overall: h. 89 x w. 42 x d. 4cm. Parchment: h. 75 x w. 27cm 5-10 -

512 DESIGNS FOR PALMER MEMORIAL X 3 Ph GARRARD CHAPEL

Three framed, mounted prints of designs for memorials to members of the Palmer family in St Mary’s Church, Wingham, Kent. The Kent Palmers were related to the Palmers of Dorney, Sir Thomas Palmer Bt of Wingham being the father of Sir James Palmer of Dorney who married Martha Garrard, daughter of William Garrard of Dorney.

512A PRINT OF THOMAS PALMER MEMORIAL d. 1625 GARRARD CHAPEL, W wall

1 A monochrome pen, ink and watercolour of Nicholas Stone’s design for a chest memorial in Wingham Church, Kent to Sir Thomas Palmer and his wife, Dame Margaret, both d. 1625 (ref a). The design features a tomb chest with the recumbent figures of Sir Thomas and Dame Margaret, daughter of John Pole.

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Mounted in a glazed, moulded wooden frame of unstained oak, The print is badly affected by damp. The inscription is largely indecipherable. Free standing. 2 Wood, glass, card, paper, ink, watercolour paint 3 n/a 4 Overall: h. 58 x w. 47 x d.1∙5cm Print: h. 45 x w. 35cm 5-9 - 10 a) Kent Archeological Society, Wingham Church Monuments

512B PRINT OF THOMAS PALMER MEMORIAL d. 1656 GARRARD CHAPEL, S wall

1 Pen, ink and watercolour design for a memorial to Sir Thomas Palmer in Wingham Church, Kent. Unmounted in a glazed simple, moulded frame of unstained oak. It shows a portrait bust and seated putti with a coat of arms in red, gold and black. The print is badly spotted with damp and the inscription mostly indecipherable. Suspended by a wire. 2 Wood, glass, card, paper, ink, watercolour paint 3 - 4 Overall: h. 58 x w. 47∙5 x d. 2cm. Print: h. 46∙5 x w. 36∙5cm 5-6 - 7 The memorial to Thomas Palmer Kt, (1543-1656) was erected in Wingham Church in 1718. He married Margaret, daughter of Herbert Pelham of Sussex and had two sons (ref a). 8-9 -

10 a) Kent Archaeological Society, Wingham Church Monuments

512C PRINT OF HERBERT PALMER MEMORIAL d. 1700 GARRARD CHAPEL, W wall

1 Copy of pen and black ink design for a floor slab memorial to Herbert Palmer in Wingham Church, Kent (ref a). Unmounted, in a glazed moulded gilt wood frame and is in poor condition due to damp. It includes an inscription in black ink and a roundel bearing the arms of Palmer impaling Pynchon. Helm in profile visor closed, Palmer mantling and crest. Free standing. 2 Wood, glass, paper 3 - 4 h. 41 x w. 28 x d. 1∙5cm. Print: h. 37 x w. 24∙5cm

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5-6 - 7 Herbert Palmer, son of Sir Thomas Palmer of Wingham, Bt d. 16th Feb 1700. 8-9 - 10 a) Kent Archeological Society, Wingham Church Monuments

513 SUNDRIES

513A LAMINATED INFORMATION CARDS There are laminated cards giving information about items of special interest in the church. Instructions for introducing bible readings (item 307). CHANCEL King James Bible (item 604A) FAMILY PEW Photograph of Window (item 705) LOWER NAVE Brass War Memorial WW 2 (item 020) GARRARD CHAPEL Garrard Memorial (022) GARRARD CHAPEL Garrard Memorial Latin inscriptions with translation (022) GARRARD CHAPEL Garrard Family History (022) GARRARD CHAPEL Tower Restoration Appeal PORCH 513B TABLE OF PAROCHIAL FEES VESTRY Printed white sheet of paper, stuck behind a sheet of glass and surrounded by a black plastic, unmoulded frame, now partly broken. This scale of fees was set by the General Synod in 1987 and has since been updated. h. 22 x w. 34∙5 x d. 1cm 513C FREE WILL OFFERING VESTRY Printed notice in black italic lettering on marbled cream-coloured paper. In a glazed, plain, brown wooden frame. h. 17 x w. 13 x 1∙5cm 513D TABLE OF KINDRED AND AFFINITY VESTRY The Table of Kindred and Affinity is printed in black roman lettering in caps and l/c under the heading Canon XCIX on a rectangular sheet of white paper. Mounted in a glazed, brown, painted and moulded wooden frame. It is in poor condition, badly affected by damp. h. 35 x w. 25 cm x d. 1∙5cm 513E HISTORICAL NOTICE VESTRY A brief historical note entitled CHURCH OF ST JAMES THE LESS is printed in black on white paper in a pale yellow mount, behind glass and in a moulded brown wooden frame. The text is in roman lettering, mixed caps and l/c and appears under a heading in caps with a sub heading in bold. h. 28 x w. 26 x d. 2cm 513F NOTICE OF TRANSFER OF BENEFICE VESTRY An item recording the transfer of the Benefice of St James the Less into the Benefice of the Riverside Team Ministry in 1978 with a list of vicars from that date. The text is hand written on paper in calligraphic lettering in black, red and gold ink. It is presented mounted on brown card, glazed and within a moulded wooden frame, stained dark brown with a gilt outside edge. Frame: h. h. 55 x w. 27 x d. 2cm; notice: h. 44∙5 x w. 18∙5cm.

PAINTINGS ETC Page 17 of 18 ST. JAMES THE LESS, DORNEY, PAINTINGS ETC BUCKINGHAMSHIRE

513G BELL RINGERS CERTs. & PHOTOS RINGING CHAMBER Sundry certificates and photographs relating to bell ringing including details of the occasion and names of the ringers. Glazed, framed and attached to the walls of the ringing chamber. S wall A Certificate and photograph dated Monday 24th April 2006. In remembrance of Alan Shannon, former bell ringer. 1. Janet Gillard / 2. Mandy R. Slater / 3. Marcia L. Dieppe (conductor) / 4. Claire L. Fisher / 5. Leslie R. Hart / 6. Peter N. Legge. h. 33 x w. 23 x d.1cm B Certificate and photograph dated Monday 26th November 2007. For the birth of Bethany Louise Williams, great niece of Janet Gillard. 1. Roger A. Webb / 2. Janet A. Gillard / 3. Marcia L. Dieppe (conductor) / 4. Leslie R. Hart / 5. Claire L. Fisher / 6. Peter N. Legge. h. 32 x w. 23 x d. 1cm. C Certificate and photograph dated Thursday 26th February 2004. First quarter after refurbishment of the bells, sponsored in aid of the Oxford Diocesan Guild Bell Fund. 1. Janet A. Gillard / 2. Mandy R. Salter / 3. Claire L. Fisher / 4. Leslie R. Hart / 5. Marcia L. Dieppe (conductor) / 6. Peter N. Legge. h. 33 x w. 24. x d. 2cm. D Certificate and photograph dated Monday 2nd June 2008. For the Golden Wedding Anniversary on 24th May 2008 of Brian and Irene Turnbull. 1. Claire L. Fisher / 2. Janet A. Gillard / 3. Mandy R. Salter / 4. Leslie A. Hart / 5. Marcia L. Dieppe (conductor) / 6. Roger A. Webb. h. 33 x w. 23 x d.1cm. E Certificate and photograph dated Monday 1st October, 2007. For the birth of Ethan Matthew Crummack (born 1st September 2009), first child of Jennie and Dave Crummack and first granddaughter of Marcia Dieppe; and for Gemma Louise Ellis, granddaughter of Peter Legge on her marriage to Richard Irvine on 29th September 2007. 1. Roger A. Webb / 2. Marcia L. Dieppe (conductor) / 3. Mandy R. Salter / 4. Janet A. Gillard / 5. Claire Fisher / 6. Peter N. Legge. h. 33 x w. 24. x d. 2cm. F Certificate and photograph dated Monday 28th March 2011. As an 80th birthday compliment to Peter Legge, bell ringer. 1. Janet A. Gillard / 2. Mandy R. Salter / 3. Leslie A. Hart / 4. Marcia L. Dieppe / 5. Claire L. Fisher (conductor) / 6. Roger A. Webb. h. 33 x w. 24. x d. 2cm. N wall A Certificate with two photographs dated Sunday 27th October 1996. A peal of Cambridge Surprise Minor in aid of the Harvest Appeal for the Children’s Society. Treble. Janet Gillard (first as mother) / 2. Marcia Dieppe / 3. Simon Smith (first peal) / 4. Timothy Mallett (first peal since 1972) / 5. Lloyd Cartwright / Tenor. Reggie Gillard (first as conductor and son). h. 37 x w. 32 x d. 2∙5cm B Certificate dated 1st January 2000 for Affiliation to the Oxford Diocesan Guild of Church Bell Ringers. h. 46 x w. 33 x d. 3cm. C Certificate dated Saturday 20th September 1975. A peal of 5040 Cambridge Surprise Minor. Treble. Monica Blagrove / 2. David C. Brown / 3. Stephen P. Northam / 4. Edward Armstrong / 5. Frederick R. Scott / Tenor. Frank T. Blagrove. h. 26 x w. 22 x d. 2∙5cm. D Certificate recording the recasting of the bells in 1962 by the Whitechapel Bell Foundry, London. h. 27 x w. 22 x d. 1∙5cm.

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501 HATCHMENT

502 THE LORD’S PRAYER

PAINTINGS ETC ST. JAMES THE LESS, DORNEY, PAINTINGS ETC BUCKINGHAMSHIRE

503A COMMANDMENTS (V-X)

503B COMMANDMENTS (I-IIII)

PAINTINGS ETC ST. JAMES THE LESS, DORNEY, PAINTINGS ETC BUCKINGHAMSHIRE

504 SKETCH FOR STAINED GLASS WINDOW

505 (i) WALL PAINTING

PAINTINGS ETC ST. JAMES THE LESS, DORNEY, PAINTINGS ETC BUCKINGHAMSHIRE

505 (ii) WALL PAINTING

506 RECTORS BOARD

PAINTINGS ETC ST. JAMES THE LESS, DORNEY, PAINTINGS ETC BUCKINGHAMSHIRE

508 BENEFACTORS BOARD MRS PARKER STEDDING

509 WALL PAINTINGS

PAINTINGS ETC ST. JAMES THE LESS, DORNEY, PAINTINGS ETC BUCKINGHAMSHIRE

509 WALL PAINTING (W)

509 WALL PAINTING (E)

PAINTINGS ETC ST. JAMES THE LESS, DORNEY, PAINTINGS ETC BUCKINGHAMSHIRE

510 BELL RINGERS CERTIFICATE

511 RECTORS AND VICARS BOARD

PAINTINGS ETC ST. JAMES THE LESS, DORNEY, PAINTINGS ETC BUCKINGHAMSHIRE

512A THOMAS PALMER d. 1625

512B THOMAS PALMER d. 1656

512C HERBERT PALMER d. 1700

PAINTINGS ETC ST. JAMES THE LESS, DORNEY, LIBRARY BUCKINGHAMSHIRE

The condition of items in this Section appears to be satisfactory unless otherwise stated.

600 REGISTERS AND RECORDS held in the County or Diocesan Record office

600A REGISTERS AND RECORDS held in the Buckinghamshire Record Office, Aylesbury (CRO)

PR 63/1 REGISTERS

PR 63/1/1 (1 vol) Register of Baptisms 1538-1647 Marriages 1540-1612 Burials 1545-1645 PR 63/1/2 (1 vol.) Register of Baptisms 1726-1746 Marriages 1726-1751 Burials 1726-1751 PR 63/1/3 Register of Baptisms 1760-1812 (The above registers are included on a microfilm (M13/75) PR 63/1/4 Register of Baptisms 1813-1891 PR 63/1/5 Register of Baptisms 1891-1954 (The above registers are included on a microfilm M13/52) PR 63/1/6 Register of Marriages and Banns At the back of the volume are miscellaneous baptism entries 1759, 1761-1762 and burial entries 1759, 1761, together with a marriage license, 1798. At the front of the volume is a MS transcript of the register. PR 63/1/7 Register of Marriages 1813-1837 (The above registers are included on a microfilm M13/76 PR 63/1/8 Register of Burials 1913-1977 (The above registers are included on a microfilm (M13/152) PR 63/1/9 Register of Banns 1824-1874 (The above register is included on a microfilm M13/76) PR 63/1/10 Register of Banns 1874-1952 (The above register is included on a microfilm (M13/152) PR 63/1/11 Register of Marriages 1837-1984

OTHER RECORDS

PR 63/8/1 PCC Minute Book

1890 25 March: Suggested removal of the pulpit and desk in the chancel. The pulpit to be placed in the angle of the chancel arch. 1898 14 April: Consideration of the most efficient means of warming the church, raising funds for purchase of a stove or other apparatus for this purpose

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1906 5 August: To consider certain alterations with a view to applying for a faculty to enable them to be carried out. 1910 10 June: Purchase of old choir stall to be incorporated in the new ones and serve as a model for the remainder. 1911 21 January: Purchase of the panels of a Jacobean pulpit which was being made. The altar rails offered by Major Palmer and Mrs Stayner accepted with thanks. Resolved that the niche on the E side of the porch be opened out, modern bricks being removed and replaced with old ones. 1912 13 May: Estimate from Mr Watton for repairing and completing the first of the choir seats. Resolved to ask Mr Watton for estimate for repairing base of screen and putting it up; the screen to be put into the floor to the depth of 9”. 22 October: Resolved the Committee see to the making of the Priest’s stall from drawings supplied by Mr Vallance. 1918 14 April: Mrs Bartlett presented for the use in the chancel, the brass candelabra formerly in the Great Hall at Huntercombe Manor. 1919 3 May: Font ewer had been bought and placed in the church on Easter Day – an old copper can. Agreed that an oak Litany desk should be provided on which should be a plate recording the names of the five men closely connected with Dorney who had lost their lives in the war. 1922 29 April: Litany desk dedicated at a special service held in The Swan on Wednesday 3 August 1921 by the Revd Philip H. Eliot, Lord Bishop of Buckingham. 1944 14 April: Vote of thanks passed to Major Dobson for a gift of altar cruets. 1948 2 April: Replace old altar with oak chest. 1949 22 April: Col. Palmer referring to the altar said it was 17th century and suggested it should be reconstructed from Architect’s drawings with a plaque on it. 1951 24 May: Col.Palmer said that the architect Mr Nye had sent a list of names to the War Graves Commission where names are verified and he can produce a design in about a week. 24 September: The War Memorial Plaque designed by Mr Nye and submitted by the Parish Council Memorial Sub-Committee was approved. 1952 6 June: The PCC inspected altar vases purchased by Professor Dickens on their instructions. 1953 26 March: the Chairman read a letter ftrom Lord Tryon to Colonel Palmer, stating that the Queen had made a special donation from the Windsor State Apartments Fund to Dorney Church (Organ Fund). 21 September: Miss McShee has very kindly presented 36 prayer books. 1954 23 Feb: Considered purchase of a new organ. 11 October: Offers have been accepted as follows : Bishop’s Organ £730. 23 November: Reported that Messrs Fassnidge have rebuilt the organ gallery, that electrical power is available and that Messrs Rashleigh Phipps have proceeded as far as possible with electric wiring. 1955 25 January: It was reported that the organ and the heating are now installed and in use.

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1957 17 Sept: Col Palmer stated that he may have some suitable glass from St George’s Chapel Windsor, bought by the court many years ago. If so, some might be provided for the repair of the chancel stained glass window. 1959 2 March: The minutes recorded the visit by representatives of the Whitechapel Bell foundry to prepare a quotation for repairing the bells. They had discovered that the oldest bell, the 1771 tenor had originally been cast by them. 1960 5 December: It was resolved to place the commemorative plaque (for the organ) in place as soon as possible. 1962 16 April: It was reported that the Bishop of Buckingham would dedicate the bells following the completion of their repair at the 11am service on 24 June. 1963 8 April: An octagonal silver wafer box was chosen as the gift from Mr Lane and was to be suitably engraved. 1964 13 February: Mrs Ames and Mrs Williamson volunteered to make the necessary number of kneelers from locally obtained material. 24 March: A brass candlestick had been purchased for the Vicar’s reading desk. 9 September: The Vicar had reported that Brig. Stainer had asked to be allowed to give a stained glass window, depicting St Francis of Assisi to the church in memory of his mother. 1966 20 January: The new window had now been installed. The documents for the completion of Faculty were duly signed by the Vicar and the Churchwardens.

D-A/X/9 ARCHDEACON’S FACULTY BOOK

D-A/X/9/176 1750 5 April: Petition of Sir Charles Palmer Bt. Patron of Parish church of Dorney, John Griffiths, clerk, vicar, Edward Sedding and John Webb, churchwardens, that in the said parish church there are four bells and the three smallest are very bad and that a large church clock and dial is very much wanting in the parish of Dorney & the above Palmer etc and with the consent of most of the parishioners intend to sell the smallest bells and to buy a church clock and dial and a small bell to give the time of Divine Service and for the clock to strike upon and use any surplus for further repair of the church. Faculty granted by John Bettesworth Doctor of Laws Comissary and official throughout the whole archdeaconry of Bucks.

600B REGISTERS, RECORDS AND FACULTIES held in the Oxford Record Office (ORO)

DIOC/1420 FACULTIES AND APPLICATION FOR FACULTIES

1890 9 May: To remove the present pulpit and reading desk and a seat behind the same. To erect three open benches in the space now occupied by the said pulpit, desk and seat and also to place a suitable pulpit on the S side of the chancel arch. Cost to be defrayed by means of a portion of the Dorney Church restoration fund. Architect: C.Howell, New Town near Eton Wick.

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1897 1 November: To remove the thick wall which at present fills up the Tower Arch and insert therein a glazed screen in order to let in more light. Builder: H.Burfoot, Builder and Contractor, Alma Road, Eton Wick, Windsor in accordance with his quotation dated 5 November 1897. 1909 13 November: To remove the wall filling the Tower Arch. To substitute new oak choir seats and others for the present deal ones. To remove the deal dado round the walls. To provide new oak altar and pulpit also new communion rail and to replace the lower panels to complete the Rood Screen according to the specification and under the direction of Messrs Hook & Dixon-Spain of Great James Street, London. 1920 11 May: To insert stained glass in a window on the S side of the nave under the gallery, in accordance with the design of Mr E. Standley Watkins of Ealing and to place a tablet on the S side of the nave in memory of Lieut. James Henry Moriarty, in accordance with the design of Messrs. Maile & Son, Euston Road, London. 1952 12 February: To install a War Memorial of weathered oak in the S wall of the nave to the E of the S door according to the design of D.E.Nye FRIBA. Cost to be defrayed by public subscription. Builder/Craftsman : Kenneth Breeze, c/o David Nye, 7 Victoria Street,London SW1. 1960 31 October: To rehang the bells and recast the tenor bell in accordance with Messrs Mears & Stainbank of the Whitechapel Bell Foundry. Cost to amount to £2,200 of which £950 to be defrayed by local efforts, grants and loans. The cost included £1,150.50 from the Whitechapel Bell Foundry, 32-34 Whitechapel Road, London E.1. for recasting and rehanging. 1965 23 April: To install a stained glass window depicting St Francis of Assisi on the N side of the church. The window to be in accordance with the design of Raymond R.Bradley ARCA, 62 West Farm Avenue, Ashstead, Surrey (studio address: 3 Orchard Studios, Brook Green, Hammersmith, London W6), and to contain the following inscription: “To the memory of Mabel Stayner born Palmer 1868-1963” The cost to be met by private donation. Enclosed with the faculty is a three page paper by Mr Bradley explaining his approach to the design.

DIOC/1421

OTHER DOCUMENTS Sequestration bond 12 June, 1852 on Dorney Vicarage for non payment by Rev Henry Palmer of sums due to his curate, George Bull. NADFAS Record 1974

601 REGISTERS in the church keeping.

Register of Confirmations 25 March 1889-20 November 1994 Register of Baptisms 31 January 1955-9 August 1993 Register of Baptisms 1 June 1996-15 January 2011 Register of Baptisms New unused Register of Banns of Marriage 5 July 1953-6 May 2001

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Register of Banns of Marriage 2001- 20 June 2010 Register of Marriages 21 July 1984-28 May 1995 Register of Marriages September 1995-21 July 2010 Register of Burials 5 June 1977-17 November 1992 Register of Burials from 1993 The Marriage Register of Dorney Published by Phillimore 1538-1812 Register of Services 5 June 1927-19 Nov 1944 Register of Services 1944 to1951 Register of Services 17 Feb 1952-27 Feb 1963 Register of Services 3 March 1963-1 March 1970 Register of Services 8 March 1970-4 Nov 1984 Register of Services 11 Nov 1984-10 July 2011

602 FACULTIES in the church keeping

2008 16 July Reopening of West door and repair of West door. S.Magee, carpentry and construction. 2008 24 Sept Window repairs by Chapel Studios. Certificate of practical completion 30 Sept 2009. 2009 5 May Altar frontal 6 November Roof repairs

603 TERRIERS AND INVENTORIES & OTHER PAPERS VESTRY

603A TERRIERS AND INVENTORIES Green plastic ring binder marked TERRIER and INVENTORY but carrying only miscellaneous papers of no significance. White plastic ring binder marked TERRIER and INVENTORYcontaining loose envelopes and wallets : Envelope containing Architect’s report dated July 2000 by P.H.Tilbury RIBA Plastic wallet containing Central heating boiler control. Plastic wallet containing Periodic inspection report for an electrical installation (PAT test) 1 November 2009. Bound into a binder : Inventory in columnar form. Items ticked 2001-2005 The Terrier and Inventories 1991-2011 except for 1992 and 1997 and 2004 to 2008. Church inventory undated signed W.A.R.Ames Churchwarden

603B LOG BOOK Containing details of work done.

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603C CONSERVATION REPORT.

603D OTHER PAPERS VESTRY

Envelope containing cremation certificates. Envelope containing plan of graveyard Envelope containing articles on Garrard memorial. Booklet – Introduction to Church registers. Brown paper parcel containing a book – parcel not opened. Envelope containing reports on surveys by Mr D.E.Nye 1947, 1952, 1957, 1962, 1967, 1972, 1977, 1982, 1988 (by P.H.Tilbury) Envelope containing boundary revisions effective 1 Aug 1986. Envelope containing furnishings and candles & catalogues. Envelope containing Insurance policy 2005. Envelope containing Diocesan child protection policy. Marriage certificate forms 11.9.99 – 1.4.06 Marriage certificate forms 23.9.06 -21.8.10

604 BIBLES & BOOKS OF COMMON PRAYER BEFORE 1851

604A KING JAMES BIBLE AND CASE Ph Dr NAVE, Family Pew

1 The bible was fully bound with black leather on wood and with a tooled design on front and back covers. Very little leather now remains of the spine but cords indicate that there were 7 raised bands. There are a number of loose pages including tables and Kalender but no end papers, frontispiece or title page. Stitching of some sections has disintegrated although the majority are still bound together but separated from the spine. Other than those pages separated from the spine, the remainder are in quite good condition. The text is black letter with some versals. There are some typographical peculiarities such as in 11 Samuel Ch.xii v..20

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The condition of items in this Section appears to be satisfactory unless otherwise stated.

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700 WINDOW OF THREE LIGHTS AND TWO TRACERY LIGHTS Ph Dr CHANCEL, E wall

1 Stonework: Three pointed lights in a pointed arch. Moulded mullions with splayed reveals within a conforming pointed arch with wide jambs and sloping sill. Surrounding this arch flat, rolled and curved mouldings ending in a two-tiered base at the level of sill. Attached to the moulding near the base on either side is a heavy metal ring with a wooden and plastic flower holder attached (item 811J).

Tracery Lights (1 and 2) Comprising two eyelets. Red glass.

Main Lights (3 - 5)

THE RESURRECTION

(3, 4 and 5) The scene is set across all three lights. In the head of each light there is an elaborate architectural canopy in two stages comprising yellow crocketed pinnacles with yellow finials. Within the pinnacles there is a stylised church facade with red glass, buttresses, windows and turreted parapets. In front of these are elaborate ogee arches with a yellow band of acanthus leaves leading up to a yellow foliated finial. Inside the arches is a narrow black and white decorated band with tracery at point of the arch. The background is of diamond quarries with opaque glass in an alternate design of l/c gothic ihs and patonce crosses in yellow. Around this are three borders: a white fillet border, inside this is a black and white decorated border and a plain red border over which are evenly spaced golden and black circular motifs. At the side of the lights supporting the ogee arches are pinnacle shafts with capitals and tracery. The figures beneath the canopies are set against a deep blue foliated background with scattered golden stars.

(3) Pointed light. The figure of Christ stands within a cinquefoil pointed arch beneath a shaft of golden light. He has a red and golden cruciform nimbus with shoulder length fair hair and beard. His rh is raised in the latin form of blessing and in his lh he holds a staff at the top of which is a gold latin cross fleurée with circle and quatrefoil at the centre. Attached to the staff of the cross with silver rings is a

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700 cont. standard with a black and white pattern around a golden patterned cross, and long tapering ends leading up to, and in front of, the shaft of light. He wears a long- sleeved white gown and over this a long short-sleeved white tunic with decorated borders at sleeves, neck and hem and a long, loose white draped cloak also with decorative borders. He stands on a grass topped rock, his bare left foot bearing the wounds of Christ, in front of a brown tomb. In front of this and behind the rock is some architectural stonework with red light shining through the arches. At the foot of the rock are flowers and foliage. Amongst the foliage, on the left, is the scarlet hem of a cloak worn by the soldier in (4) and on the right the armoured left foot of the soldier in (5).

(4) Pointed light. In the lower half of the light two soldiers sit sleeping. The foremost soldier with moustache sits on a rock amongst green and yellow foliage with his right hand resting on his sword against his knee. The sword has a silver blade and golden grip and golden quillon. His left hand supports his head. He wears armour: a white metal helmet with decorated border and on his arms silver chain mail under a silver rerebrace, vambrace and decorated couter and golden chain mail at his neck. He has a purple tunic with silver decorated belt and over this a loose scarlet cloak draped over his shoulders and round across his knees. Behind him is a second soldier with a moustache who is asleep with his head resting on his right shoulder and holding a spear with a wooden shaft in his right hand. He wears armour: a silver helmet with a decorated border and on his arms silver chain mail, rerebrace and vambrace. He has silver chain mail around his neck, a red tunic and a loose white cloak across his arms. Above the soldiers is an angel, within a trefoil pointed arch facing towards (3), with a golden nimbus, fair wavy hair and with hands held as in prayer. The angel has gold and silver wings spread as if in flight and wears a long, long-sleeved flowing white gown with a golden and black decorated border at neck, sleeves and hem. Draped over the angel’s left shoulder is a flowing pale green stole with golden decorated border. The angel is bare-footed. At the angel’s feet is a small-leaved tree in shades of green.

(5) Pointed light. In the lower half of the light a soldier with moustache kneels on stony and grassy ground, turning and looking up towards the figure of Christ in (3), with his left arm outstretched and his right hand resting on the ground in front of him. He wears armour: a white helmet with decorated border, golden chain mail at neck, and on his arms silver chain mail under a silver rerebace, vambrace and decorated couter. On his legs he has silver chain mail covered by cuisses, poleyns and greaves and on his feet pointed sabatons. Over this he wears a short, red sleeveless tunic with black decorated borders and golden and white decorated belt. A sword with a silver blade and quillon, and a golden grip and pommel lies on the ground beneath his right leg. To the soldier’s right is a plant with green leaves and orange flower. Above this a green tree leading up to an angel within a trefoil pointed arch.

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700 cont. The angel is facing towards (3) with a golden nimbus, fair wavy hair with hands held in supplication. The angel has pale blue and scarlet wings spread as if in flight and wears a long. long-sleeved white gown with golden and black decorated border at neck and hem. Over the right shoulder the angel has a long loose white cloak with black and golden decorated border.

(6, 7 and 8) At the top of each panel there is a brown band with white beading above and below with gold caps gothic lettering showing the dedication. The background is of diamond quarries in green and white opaque glass. Within the quarries are designs of ihs in l/c gothic lettering and patonce crosses in yellow. At the sides are three borders: a white fillet border, inside this is a black and white decorated border and a plain red border over which are evenly spaced golden and black circular motifs. Below this is a double brown band with white beading above with gold gothic u/c lettering showing continuation of the dedication.

(6) In the centre is a green laurel wreath with a golden and black ihs in gothic l/c lettering on a decorated red background.

(7) In the centre is a larger green laurel wreath with the coat of arms of the Palmer family on a decorated red background.

Blazon Shield: Within a laurel wreath enclosing a red circlet Or two bars Gules each charged with three trefoils slipped in chief a greyhound courant Sable, with a baronet’s augmentation in fess point. [PALMER] Crest: A demi-panther rampant guardant incensed, holding in dexter fore- paw a palm branch Proper Motto: PALMA VIRTUTI – Translation: Palm of Virtue

(8) In the centre is a green laurel wreath with a golden and black pRa on a decorated red background. 2 Stained and painted glass, lead, plastic, wood and metal 3 Window: 1875; Stonework: 1875 (ref a) 4 h. 310 x w. 148cm approx 5-6 John Hardman (ref a) 7 “It is said that this window formerly contained ancient stained glass with a small figure in the middle of a man praying” (ref b) 8 Lady Sarah Palmer

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9 Across top of lights 6, 7, 8 (6) TO:THE:MEMORY:OF:THE:REVD :SIR:HY∙/ (7) PALMER:BART:OF DORNEY:COURT:2 ND SON:OF:SIR∙ CHARLES / (8) H: PALMER: BART: OF: DORNEY: COURT :WHO /

Across bottom of lights 6, 7, 8 (6) DIED:A:D 1865:AGED:67:YEARS & TO:THAT / OF: HIS:2 ND AND:YOUNGEST:SON: ROGER:HENRY: /

(7) PALMER:WHO:DIED:A:D:1837:AGED:6½:YEARS / THIS:MEMORIAL:WINDOW:IS:DEDICATED / (8) BY:SARAH:THE:LOVING:WIFE:AND:MOTHER:/ A:D:1875::REQUIESCANT:IN:PACE 10 a) Bucks Glass b) Ch G 2 p.7

701 WINDOW OF TWO LIGHTS Ph Dr CHANCEL, S wall

1 Stonework. Two pointed trefoil lights divided by a moulded mullion, jambs and sloping sill. On the E side of light (1) there is a section of stone with a rolled moulding. There are signs of some repair.

Main Lights (1 and 2)

(1) Pointed trefoil. There is a central rectangular panel with a background of trailing ivy in pale green opaque glass. On either side of the panel there is a border with a yellow stem of evenly spaced white vine leaves on a red background and a white fillet border. Within the panel are three pointed quatrefoils with royal blue decorated glass and a golden fillet border. The top quatrefoil shows three green shamrock leaves with entwined stems. The central quatrefoil has a white Tudor rose with yellow centre and green leaves. The lowest quatrefoil has a thistle with green leaves, cup and stem and a pink flower.

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On either side of the central panel there is a broad border of pale green and lilac glass in a geometric pattern. At the top and foot of the light is a random pattern of pale green and lilac and emerald green.

(2) Pointed trefoil. This light is identical to (1) with the exception of two small emerald green glass sections at the base of the border of vine leaves and a section of green glass to the bottom left of the thistle. There is some damage and cracking to this window. 2 Stained and painted glass, lead. 3 Mid-19th c (ref a); Stonework late 13th c (ref b) 4 h. 141 x w. 121cm 5-6 - 7 This window is thought to have come from Dorney Court at the beginning of the 20th century as there are several other similar windows in the house (ref a). 8-9 - 10 a) RG b) RCHMS p.128

702 WINDOW OF ONE LIGHT AND TWO TRACERY LIGHTS Ph Dr CHANCEL, S wall

1 Stonework: Square-headed window with pointed trefoil beneath ogee arch with two large eyelets above. Reveals, deep sloping jambs, narrow and sloping sills leading down to a flat lower sill within a pointed arch. The outer stones on the E side of this arch are linked to stones on the W side of the arch of what was the Priest’s door (item 203).

Tracery Lights (1 and 2) Comprising two large eyelets. Plain glass.

Main Light (3)

SAINT PAUL (3) Pointed trefoil. Diamond quarries with plain glass. Attached to the quarries is a stained glass panel depicting Saint Paul within an almond shaped frame. He holds a silver sword with a golden pommel and quillon in his right hand and a golden coloured book in his left hand. He has a golden nimbus, long wavy hair

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and a short beard. He wears a long white gown with a golden band at the neck. Round his waist is a broad golden sash and over this, draped from his left shoulder and round his body, a deep red loose cloak with a golden decorated border at shoulder. Saint Paul stands against a blue background within a narrow white border with black painted decoration. 2 Stained and painted glass, lead. 3 Glass: n/a; Stonework: Early English 14th c (ref a) 4 h. 134 x w. 36cm 5-6 - 7 The stained glass panel in this window was found in Dorney Court in 1920 (ref b) 8-9 - 10 a) A&TR p.88 b) Ch G 2 p.7

703 WINDOW OF ONE LIGHT Ph Dr NAVE, S wall (E)

1 Stonework: Tall square-headed metal window set in moulded wooden frame with deep sloping jambs and sloping sill within a stone frame which has rolled moulding and a two-tiered base ending mid window. Above the light between the jambs there is a flat wooden ceiling.

Main Light (1 - 6)

(1 and 2) At the top of the light there is a “fringe of pretty Gothic filigree tracery” (ref a) in metal over a row of six small vertical rectangular panes of clear glass. (3, 4, 5 and 6) These sections each have twelve vertical rectangular panes of clear glass set in lead. (3 and 4) have opening windows and in (3) the handle and stay are missing. In (4) there is a handle and stay. 2 Wood, glass, metal and lead 3 Early 19th c (ref a); Installed 19th c (ref b) 4 h. 206 x w. 100cm 5-6 -

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7 This window was inserted by the Reverend Henry Palmer in the 19th century to allow more light into the church (ref b) and had previously been in another building on the Dorney Court estate (ref c). 8-9 - 10 a) Pev p.281 b) Ch G 2 p.7 c) RG

704 WINDOW OF ONE LIGHT Ph Dr NAVE, S wall (W)

1 Stonework: Tall square-headed metal window set in moulded wooden frame with deep sloping jambs and sloping sill within a stone frame which has rolled moulding extending to bottom of the sill with a two-tiered base. Above the light between the jambs there is a flat wooden ceiling.

Main Light (1 - 6)

(1 and 2) At the top of the light there is a “fringe of pretty Gothic filigree tracery” (ref a) in metal over a row of six small vertical rectangular panes of clear glass. (3, 4, 5 and 6) These sections each have twelve vertical rectangular panes of clear glass set in lead. (3 and 4) have opening windows with a handle and stay. 2 Wood, glass, metal, lead 3 19th c (ref a) Installed 19th c (ref b) 4 h. 206 x w. 98cm. 5-6 - 7 As (703) (ref b & c) 8-9 - 10 As (703)

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705 WINDOW OF ONE LIGHT Ph Dr NAVE, S wall

1 Stonework: Pointed light set in a pointed arch with reveals and flat sill, deep jambs and deep sloping sill leading down to a flat sill within an irregular pointed arch. Main Light

KING CHARLES I

Pointed light. King Charles, wearing the Crown of England, stands within an arch (ref a). He has long, wavy brown hair, brown moustache and short beard. In his left hand he holds the gold orb and in his right hand he holds the gold sceptre. He wears a white long-sleeved gown with large decorative lace collar and cuffs. Beneath the lace collar is a gold decorative chain with central motif. Over this he wears a blue sleeveless coat with ermine trim at the front opening and a decorative white and gold-coloured border at the hem. Across his shoulders and front he wears a gold chain with central decorative panel depicting a prancing horse with rider holding a banner. At his waist he wears a gold sword belt with central decoration. Over the blue coat he wears a long ermine cloak. He has soft leather boots with ribbon rosettes (shoe roses). He stands on brown stone against a brown stone wall. Above the wall and behind King Charles in blue glass is a painted scene showing the Round Tower and St George’s Chapel at Windsor Castle with trees and the River Thames in the foreground. King Charles stands between engaged columns which support a rounded arch beneath a square cornice. There is golden decoration on the base and capitals of the columns, around the arch and on the cornice. Above the round arch there is a garland of golden fruit with white leaves. At the centre of the arch and resting on the cornice is a large ornate panel with golden decoration and swags and, at either side, golden fruit and leaves. At the centre of the panel there is a celestial crown with green palm leaves against a red background. At either side of the light, leaning against the engaged columns, there is an angel with golden hair and upstretched wing and head bowed in prayer. From the waist down of each angel there is a golden flowing design. Round the engaged column to King Charles’ left is a white scroll with the word REMEMBER in black caps. The background to the light is of clear pale green glass. Across the foot of the light on the stone base is a white scroll with gold reverse and the words Charles ∙ King and ∙ Martyr ∙ 1649 in black caps and l/c stylised gothic lettering. The capital C is decorated. 2 Stained and painted glass, lead. 3 1920 (ref b); Stonework: 13th c (ref c) 4 h. 102 x w. 58cm.

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5 E. Stanley Watkins of Ealing. The original rough sketch was made by Lieutenant J.H. Moriarty (item 505). 6 E. Stanley Watkins of Ealing. 7 This window was inserted in accordance with the Will of Lieutenant J.H. Moriarty, Royal Siege Artillery, who was the only son of the Reverend J.H. Moriarty, Vicar of Dorney from 1914 to 1927. ‘Jack’ Moriarty served in France with the 2nd Siege Battery in 1914. He was wounded and mentioned in despatches. During his convalescence, at home, he sketched a design for a stained glass window. In his Will he made provision for the completion and insertion of such a window - “in Dorney church, in the south wall, under the gallery, to contain a figure of Charles, King and Martyr”. Lieutenant Moriarty returned to the front and was killed on 12th October, 1915 while serving with 18th Siege Battery, Royal Siege Artillery. He was buried at Bethune aged 22 years and 9 months (item 001). The completed window shows King Charles I, after a portrait by Sir Anthony Van Dyck, which hangs in Windsor Castle (ref d). In a frame by the window (item 505) may be seen the original sketch, the drawing by Mr. Watkins and a photograph of Jack Moriarty with his father. Wenna (item 006), the sister of the Reverend James Moriarty, married Colonel C.H.D. Palmer, as his second wife (ref d). There is a memorial tablet to Lieutenant Moriarty in the Nave, S wall (item 001) and a wooden cross in the Garrard Chapel (item 001B). This window is not shown on the 1912 plan of the church but a restored single-light 13th c window is mentioned by William Page (ref e). 8 Lieutenant J.H. Moriarty. He left money in his Will to pay for the window. 9 - 10 a) Inside Churches 3rd edition p.78 b) ORO DIOC/1420 Faculties c) RCHMS p.128 d) Slough, Eton and Windsor Observer 20.10.1900. e) VCH p. 221-225

706 WINDOW OF THREE LIGHTS & TWO EYELETS Ph Dr TOWER, W wall

1 Stonework: Three pointed lights in a pointed arch. Moulded mullions with moulded reveals within a conforming pointed arch with wide jambs and flat sill. This window has retained little, if any, of the old stonework (ref a).

Tracery Lights (1 and 2) Comprising two eyelets. Clear glass.

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Main Lights (3 - 5) Pointed lights. Quarries in clear glass. There are some broken quarries in this window. 2 Glass, lead. 3 16th c (ref a) 4 h. 244 x w. 213cm approx. 5-6 Repaired by Kees Glaziers, 28 Wellington Rd., Maidenhead 7 Repaired 12.12.2012 (ref b) 8-9 - 10 a) RCHMS p.128 b) RG

707 WINDOW OF ONE LIGHT Ph Dr NAVE, N wall (W)

1 Stonework. This small rectangular window is set into white painted brickwork which fills the arch of an earlier doorway (item 211). Over the window is the original pointed arch of the doorway with a conforming rere arch.

Main Light

Rectangular light. The window depicts a dolphin in shades of grey and also a golden starfish, a green fish and a golden shell against a background of shades of blue, turquoise, green, white and purple glass in varying shapes representing the sea. On these coloured panes are the words in black u/c. O YE WHALES / AND ALL / THAT MOVE / IN THE WATER / BLESS YE THE / LORD. On the shell in the bottom right hand corner in black caps. is the maker’s mark LYN CLAYDEN 1990. The entire light is set within a narrow frame of lead. Above the light is a rectangular brass plaque fixed to the wall with four brass screws. It has a brass border and within this border a black painted background on which is the memorial inscription in caps raised brass letters. 2 Painted glass, lead, brass. 3 1990 (ref a) 4 h. 45 x w. 24cm Plaque: h. 10∙5 x w. 0∙5cm 5-6 Mrs Lynda Clayden (ref b)

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7 This window replaces an earlier one depicting St Philip which was stolen in 1989 (ref a). It is in memory of Lt. Colonel W.A.R. Ames, OBE who died in 1962. The wording on this window is inspired by the “Benedicite, Omnia Opera” (A Song of Creation) from the Book of Common Prayer v. 23 which was part of the service of dedication (ref b). Lt. Colonel Ames is buried in the churchyard. His wife, Brigit, was a valued member of this congregation for many years (ref c). She died in 2004 and her ashes were scattered over her husband’s grave. There is also an altar frontal dedicated to Lt. Colonel W.A.R Ames (item 400B). 8 Mrs Brigit Ames wife of Lt. Colonel W.A.R. Ames, 1991 (ref a). The window was dedicated on 24th February 1991 (ref b). 9 IN LOVING MEMORY OF / WILLIAM ARTHUR ROGER / AMES / 1898 – 1962 / 10 a) Ch G 2 p.7 b) Mrs. Lynda Clayden, orally. c) Mrs J Liney, a member of the present congregation, orally.

708 WINDOW OF ONE LIGHT Ph Dr NAVE, N wall

1 Stonework. This tall square-headed light is set in a moulded wooden frame with deep sloping jambs and a sloping sill within a stone frame which has rolled moulding extending to the bottom of the sill on each side with a two-tiered base. Above the light between the jambs there is a flat wooden ceiling.

Main light

SAINT FRANCIS

Square-headed light. This light portrays St Francis of Assisi “in discourse with birds which have become the symbol by which he is known” (ref a). St Francis stands slightly elevated from the ground “a way of showing his disassociation from the world as we know it” (ref a). In centre of light a tree, with red trunk and branches and leaves in various shades of green, grows from rolling hillocks in shades of green, red and brown in a flowing circular design. At top of light a white dove flies in front of the tree and across a gold and white ring of light. Within this ring there is a white cross representing God and from the ring “there is a mantle of light in the form of a white robe which envelops St Francis in his simplicity” (ref a). The white robe winds around St Francis to beneath his feet and behind him from the ring of light a golden ray falls to his feet. St Francis has a

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golden nimbus, tonsured hair and a short beard with his head inclined to his left. He wears a long, long-sleeved grey habit marked with a long white latin cross. He has his right arm across his body with the fore-finger of his right hand pointing to his left; his left arm raised revealing his forearm. He is bare-footed. On the upper branch of the tree on the rh side is a yellow cockerel, beneath it a brown owl and amongst the leaves on a lower branch is the head of a yellow bird. On the lh side of the tree, on a branch, is a white bird with a long tail. In front of the tree trunk a white stork, with a golden beak, stands beside a hillock. In the bottom lh corner a yellow cat and a white dog look up. They were included in the design at the request of the donor as they belonged to Mrs Stayner in whose memory the window is dedicated (ref a). The background of the light is in small irregular shaped squares and rectangles of plain and opaque glass and three broad sections of purple and blue glass of similar shape. Above the banner to the left of St Francis in a section of white glass is the maker’s mark. Across the light behind St Francis and in front of the stork is a yellow banner with a dedication in black stylised caps and l/c irregular lettering. 2 Stained and painted glass, lead. 3 1965 (ref a) 4 h. 215 x w. 99cm approx. 5 Mr Raymond N. Bradley. Enclosed with the faculty is a three page paper by Mr R Bradley on his approach to the design together with additional information from the designer (ref a). 6 Mr Raymond N. Bradley. 7 This window is dedicated to Mabel Stayner (née Palmer) mother of Brigadier Stayner and sister to Philip Palmer. 8 Brigadier Stayner in memory of his mother. 9 TO The / MEMORY OF MABeL STaYner / BORN PalMeR 1868 1963 / 10 a) CRO DIOC/1420 Faculties.

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709 WINDOW OF ONE LIGHT Ph Dr NAVE, N wall

1 Stonework. Tall square-headed metal window set in a moulded wooden frame with deep sloping jambs and sloping sill within a stone frame. Above the light and between the jambs there is a flat wooden ceiling.

Main Light (1 - 6) (1 and 2) At top of light there is a remnant on the right hand side of a “fringe of pretty Gothic filigree tracery” (as 703&4) (ref a) in metal over a row of six small vertical rectangular panes of clear glass. (3, 4, 5 and 6) These sections each have twelve vertical rectangular panes of clear glass set in lead. 2 Wood, glass, metal, lead. 3 Early 19th c (ref a); Installed in 19th c (ref b) 4 Outer window h. 206 x w. 99cm. approx. Inner window h. 89 x w. 108cm. 5-9 - 10 a) Pev p.281 b) Ch G 2 p.7

710 WINDOW OF ONE LIGHT AND TWO TRACERY LIGHTS Ph Dr CHANCEL, N wall AND GARRARD CHAPEL S wall

1 Stonework Chancel, N wall: One elongated pointed cinquefoil within a pointed arch with two large eyelets beneath a rounded arch. Beneath the light there is a section of vertical stone leading to a sloping sill and a flat sill all within deep jambs in a conforming rere arch with irregular quoins at sides. The reverse side of this window can be seen in the S wall of the Garrard Chapel. Much mutilated.

Tracery Lights (1 and 2) Comprising two large eyelets. Brown and green painted glass.

Main Light (3) Pointed cinquefoil. Within the light are two pointed quatrefoils with royal blue decorated glass and a golden fillet border. The upper quatrefoil has a thistle with green leaves, cup and stem and a pink flower. Both sides of the upper part of this

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quatrefoil are covered by the decorated border which goes round the light. The lower quatrefoil has a dark red and white Tudor rose with yellow centre and green leaves. The background is of trailing ivy in pale green opaque glass. Around the sides and top of the light there is a border with a yellow stem and evenly spaced white vine leaves on a red background and around this a white fillet border.

Stonework Garrard Chapel, S wall: One elongated pointed cinquefoil within a pointed arch with two large eyelets within a rectangular frame with stone jambs and beneath the light a section of vertical stone leading to a flat sill. There is some broken glass in this window. 2 Stained and painted glass, lead. 3 Glass: Mid 19th c (ref a); Stonework: Early English (ref b) 4 h. 105 x w. 31cm. 5-6 Repaired by Kees Glaziers, 28 Wellington Rd., Maidenhead. 7 Window repaired 21.10.2012 (ref a). 8-9 - 10 a) RG b) A&TR p.88

711 WINDOW OF THREE LIGHTS Ph Dr GARRARD CHAPEL, W wall

1 Stonework. Three rectangular lights with plain stone mullions and jambs under a square head within a rectangular frame with flat sill.

Main Lights (1 - 3)

(1 - 3) Quarries in plain and tinted glass. (1) The lower part has an opening window within a metal frame with a circular metal handle and latch. Within the frame of each light there are two internal heavy vertical protective metal bars. 2 Glass, lead, metal. 3 17th c. (ref a) 4 h. 152 x w. 171cm. 5-9 - 10 a) RCHMS p.128

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712 WINDOW OF THREE LIGHTS Dr GARRARD CHAPEL, N wall

1 Stonework. Three rectangular lights with stone mullions, jambs and transom within a rectangular frame and beneath a shallow rounded arch. The lower half of this window was blocked up when the Garrard memorial (item 022) was built. This can be seen from the outside.

Main Lights (1 - 3)

(1 and 3) Quarries in clear glass. (2) Larger quarries in clear glass. All three lights have an internal vertical protective metal bar. 2 Glass, lead, metal. 3 17th c (ref a) 4 h. 90 x w. 148cm approx. 5 - 9 - 10 a) RCHMS p.128

713 WINDOW OF THREE LIGHTS Ph Dr GARRARD CHAPEL, E wall

1 Stonework. As 711.

Main Lights (1 - 3)

(1 - 3) On either side of each light are plain and tinted square quarries. (1) Down centre of light is a pattern of horizontal triangular panes in plain and tinted glass. (2) Down centre of light a pattern of triangular and rectangular panes in plain and tinted glass. (3) Down centre of light there are five large rectangles enclosing a chevron pattern of plain and tinted glass. Within the frame of each light there are two heavy internal vertical protective metal bars. 2 Glass, lead, metal. 3 17th c. (ref a) 4 h. 152 x w. 167cm approx.

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5-9 - 10 a) RCHMS p.128

714 WINDOW OF ONE LIGHT TURRET, stairs S

1 Stonework. One window set in stone with clear glass. 2 Glass 3 Glass: 20th c. (ref a) Stonework: 16th c (ref a) 4 h. 48 x w. 13cm. 5-9 - 10 a) RCHMS p.128

715 WINDOW OF ONE LIGHT TURRET, stairs S

1-10 Same as 714.

716 WINDOW OF ONE LIGHT TURRET, stairs S/E

1-10 Same as 714 and 715.

717 WINDOW OF ONE LIGHT RINGING CHAMBER, S wall

1 Stonework. One window with clear glass with a modern wooden frame set in a brick arch with deep sloping jambs and a flat sill. This is a lh opening window with two metal hinges and small metal handle. 2 Glass, wood, metal. 3 Glass: 20th c; Stonework 16th c (ref a) 4 h. 79 x w. 20cm. 5-9 - 10 a) RCHMS p.128.

718 WINDOW OF ONE LIGHT Ph RINGING CHAMBER, W wall

1 - 10 Same as 717.

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719 WINDOW OF ONE LIGHT RINGING CHAMBER, N wall

1 Stonework. One window with clear glass in a modern wooden frame set in a brick arch with deep sloping jambs and a flat sill. 2 Glass, wood. 3 Glass: 20th c; Stonework: 16th c (ref a) 4 h. 77 x w. 17cm 5-9 - 10 a) RCHMS p.128

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700

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700

700 (Detail)

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700 Palmer Arms

701

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702

702 (Detail)

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703

704

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705

705 (Detail)

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706

707

707 MAKERS MARK

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708

708 MAKERS MARK

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709

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710 CHANCEL SIDE

710 CHAPEL SIDE

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711

712 Exterior

713

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718

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The condition of items in this Section appears to be satisfactory unless otherwise stated.

800A ORGAN Ph GALLERY

1 The organ is situated on the W side of the gallery within arch (item 209) and sits on a wooden platform h. 15 x w. 246 x d. 27cm. Case: A display tower of pipes is set into carved, black ply-wood, with brown stained pine uprights on either side (h.186cm) from top to base rails. The pipe display has a tower of 17 wooden show pipes (5-7-5) painted silver and gilt, added in 1999. On either side there are two dark brown painted pine, vertical, panels with stop chamfered stiles and rails. The outer brown stained square posts each with a baluster shaped finial (h. 26cm) on top. Access can be made each side of the case where the sounding pipes and inner workings can be seen. The large outer pipes, on each side, rest on a black wooden box h. 14 x w. 122 x d. 24cm.

Console: Integral. 2 manual keyboards, each with 33 white naturals from CC – G, and 23 black sharps from C# - F#. The sloping rectangular panel above the manuals is wainscot oak. h. 57 x l. 71cm; it has 4 brass clips to hold music. There are maple wood jambs on either side for the stops and couplers. The pedals are beechwood. A strip light (item 803G) is attached to an extension of this panel above the manuals and a single bulb light on the top rh jamb, operated by a switch on the rh jamb which also operates a strip light (item 803G) beneath the lower manual. There is another strip light (item 803G) set high within the wooden back of the organ which does not appear to work. A switch on the rh jamb starts the organ. On the rh jamb there is a rectangular metal plaque with a dedication inscribed in blue stylised roman caps. THIS ORGAN WAS INSTALLED BY PARISHIONERS TO CELEBRATE THE CORONATION IN 1953 OF H.M. QUEEN ELIZABETH 11 WHO HERSELF MADE A MOST GENEROUS GIFT

A small circular mirror in a wooden frame diam. 34cms on the left jamb. The console is enclosed by two glazed sliding doors in a wooden frame. Keyhole on rh door. Stop List: Great: Open Diaspan 8ft Stopped Diaspan 8ft Dulciana 8ft Flauto Traverso 4ft Picolo 2ft Swell: Open Diaspan 8ft Lieblich Gedacht 8ft

MISCELLANEOUS Page 1 of 9 ST. JAMES THE LESS, DORNEY, MISCELLANEOUS BUCKINGHAMSHIRE

Principal 4ft Oboe 8ft Pedal: Bourdon 16ft Couplers: Swell to pedal Swell to great Great to pedals (ref b)

Pistons: no pistons Knobs: There are 6 round stops on the rh jamb and 7 round stops on the lh jamb. Rosewood with red thread around some of the stems for quiet return of the knobs. Ivory discs with black stylised gothic lettering with some caps in red. Pedal keyboard: Concave and radiating with 30 notes CC to F and a swell pedal on the rh side. Action: Mechanical with electric blowing apparatus. 2 Case: pitch pine, ply wood, paint Console: wainscot oak, maple wood Knobs: rosewood, ivory, thread Keys: ivory and ebony Plaque: metal, paint Pedal Board: beechwood Pipes: pipe metal 3 c. 1890 (ref a) 4 Overall: h. 258 x w. 254 x d. 297cm Panels: h. 66 x w. 43cm Console: h. 57 x w. 83cm. Doors: h.100 x w. 65cm. Plaque: h.7∙5 x w. 14cm. 5-6 Messrs J S Bishop of London (ref b) 7-8 Originally the organ was sited in the Methodist Church in Worcester Park, Surrey. It was dismantled and moved to St James The Less, Dorney, by Messrs Bishop & Son in 1954 (ref a). Firstly it was hired with the option to buy in 5 years (ref b). The organ was purchased with monies donated by the parishioners and the Queen (ref c) 9 - 10 a) Bishop & Son b) NPOR c) CRO PR 63/8/1 PCC Minutes

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800 ORGAN

800 PLAQUE

MISCELLANEOUS ST. JAMES THE LESS, DORNEY, MISCELLANEOUS BUCKINGHAMSHIRE

800 KEYBOARD

800 ORGAN BENCH (with pedals)

MISCELLANEOUS CHURCH RECORDERS’ HANDBOOK 2014

CONTENTS Contents

Page Introduction 1 General Information for Recorders, 5 including the 1-10 Format for Recording an Object Notes for Section Recorders Memorials 11 Metalwork 15 Stonework 19 Woodwork 21 Textiles 23 Paintings etc 25 Library 27 Windows 31 Miscellaneous 35 Photography Information 37 List of Supplements, including Photography – available on the website 40 Roman Numerals converted to Arabic Numbers 41 Compilation and Production of the Record 42 Guidelines for the Layout of the Record 46 Record Checklist 48 Distribution of Completed Records 50 including advice on depositing Records at a County Record Office The Role of the Church Recorders Group Leader including lists 53 of Administration & Information forms – available on the web-site The Role of the Church Recorders Area Representative 58 Bibliography 62

March 2014 NADFAS House, 8 Guilford Street, London WC1N 1DA www.nadfas.org.uk

NADFAS Company No. 4307984 (England) Registered Charity Nos. 1089743 (England & Wales), SC039240 (Scotland)

INTRODUCTION

The National Association of Decorative & Fine Arts Societies (NADFAS) is an arts education association. It is a network of societies providing lectures, study days, visits and tours focussing on the fine and decorative arts. There are additional activities for members who wish to volunteer; Church Recording, Heritage Volunteering, Church Trails and Young Arts which all come under the aegis of the Volunteering Department at NADFAS House. Introduction

NADFAS Church Recorders make records of the furnishings, artefacts and some of the fabric of our places of worship, thereby promoting the recognition and preservation of our rich cultural heritage.

What is a Church Record? A full Record divides objects into Sections entitled Memorials, Metalwork, Stonework, Woodwork, Textiles, Paintings etc, Library, Windows and Miscellaneous, which includes the organ. Each object is described in a prescribed format and may be photographed. When possible it includes the history checked against published information. A partial Record might be completed if group resources or the size of the church would make it difficult to complete a full Record, or if a special request were made by the church or by a church organisation. Approval from the Volunteering Department at NADFAS House must be obtained for a partial Record.

What are the objectives of Church Recording? The principal aim of Church Recording is to produce a comprehensive Record to raise awareness and promote the recognition of the heritage within churches of all denominations, thus enabling its preservation and protection. Archivists, researchers and academics find the Records invaluable. A NADFAS Church Record can assist in the event of loss due to theft or serious damage. Church Recording offers the opportunity to make a contribution to preserve and enhance access to our heritage, to expand intellectual horizons and to acquire new skills. Working in a dedicated and skilled team and collaborating with professionals when doing research gives great satisfaction and a genuine sense of achievement. Church Recording helps to endorse NADFAS’ status as a charitable association and raises public awareness of the Association locally and nationally.

Where Records are deposited. See Distribution of Completed Records in this Handbook. The Record will be presented to the church preferably at a service. Depending on the church’s location in the , a copy of each Record is deposited in the • appropriate County Record Office • ChurchCare library at Church House (Anglican churches only in England and Wales), • National Art Library at the Victoria & Albert Museum, London • English Heritage Archive (England) or equivalent bodies in the Isle of Man, Northern Ireland and Wales. In Scotland consult your CRAR. • National Libraries of Northern Ireland, Scotland, Wales and the Isle of Man where appropriate It is recommended that the members of the sponsoring Society or Societies should have the opportunity to see the completed Record.

March 2014 1 INTRODUCTION

NADFAS Church Records Online Index Introduction This includes the names of artists, manufacturers and retailers, the names of donors and those commemorated, also the subjects of stained glass windows and wall paintings. Access to the index is unrestricted. It is of particular value to researchers and family historians. The Ecclesiastical Insurance Company and the Police also make use of the index when tracking items that have been misappropriated. Items of silver, gold or other precious materials are not included in the index. Who pays for a Church Record? Although the church or another external body might offer a contribution towards the cost of the Record, Societies are responsible for financing their Church Recording groups according to the guidelines in the NADFAS Handbook (for Society Chairmen available on the NADFAS website) and in the Group Leader’s information in this Handbook. Your Society should be prepared to contribute a minimum of £250 pa; with any unspent allocation being carried forward to subsequent years as a Record usually takes more than a year to complete. The Group Leader must agree the financial arrangements with the chairman/men and treasurer/s before each new recording. A grant towards the photography and compiling costs is available from NADFAS.

Organisation of Church Recording

CR group based on 1 or more Societies, led by Group leader

Volunteering Dept (also manage Church Recorders Young Arts, Heritage Area Representative Volunteers and (CRAR) Church Trails)

National CR Team offer support and advice to CRARs and groups

Formation of Groups Each group is attached to one or more Member Societies of NADFAS. For insurance purposes, each member of the Church Recording group must be a member of a NADFAS society, or an Affiliate Member of NADFAS. Each group should consist of: • A Group Leader (GL) who is responsible for organising the membership of the group. They should make and maintain contact with the church authorities, the Church Recorders Area Representative (CRAR) and the sponsoring Society. Group Leaders are the key co-ordinators of the voluntary effort and, as such, they must possess and exercise good judgement and tact. (See The Role of the Group Leader). Note: although it does not have to be the Group Leader, it is essential to have someone who can collect emails and download information on behalf of the group and circulate it to other group members.

2 March 2014 INTRODUCTION

• A Compiler (often the Group Leader) who is responsible for collecting and checking the notes of the Recorders. The notes must be put into the prescribed format before the draft Record with photographs is sent to the CRAR whose comments must be implemented. The final Record is then printed. (See Compilation and Production of the Record). Introduction • A Photographer who undertakes to complete a series of photographs required for all Sections. They must be willing to sign a form assigning the photographic copyright of all the photographs used in the final Record to NADFAS. • Recorders, it is suggested that a group should not start with fewer than twelve Recorders. This will enable Recorders to work in pairs or small teams on each Section.

Publicity There are many opportunities for Recorders to publicise their activities and gain recognition. Such publicity may stimulate recruitment to NADFAS and Church Recording. Subject to the agreement of the church concerned, there might be potential for local, regional or national publicity if an object of great interest is discovered or when a Record is presented to the church. An appropriate forum might be an article in the parish magazine, local newspaper or a specialist journal, at an exhibition in the church, a Society meeting or in a local library or museum. Advice about preparing such publicity is available from the Promotions & Marketing Department at NADFAS House. Any approaches by a national media organisation must be referred to the Promotions & Marketing Department in the first instance.

Insurance Further details on NADFAS insurance cover are available on the NADFAS website or from the Finance Department. In summary: • Full and Affiliate members of NADFAS and their authorised visitors are insured against any proven liability arising from third party bodily injury or property damage to goods in their care whilst recording in the church, including member to member liability, against loss or damage to Recorders’ possessions being used in the recording work, subject to certain conditions. • There is no cover for personal accidents caused by a Recorder’s own negligence. • Note that a Recorder’s personal effects are not covered by the insurance unless they are being used specifically for recording activities.

Health and Safety Advice As formal owners of the premises, the church authorities are responsible for carrying out a Risk Assessment for their insurance purposes. The Group Leader should ask for this information before recording begins so he/she can identify any known hazards and take precautions to minimise risks. Recorders should not put themselves at risk and they should never work alone in a church.

Safeguarding Children Normally Church Recorders are not in regular contact with young people, so there is no direct concern. However, they may do so if they enter into joint projects with Young Arts or other bodies to develop Church Trails etc. In such circumstances, the Group Leader should seek advice from the Volunteering Manager at NADFAS.

March 2014 3 4 March 2014 GENERAL INFORMATION FOR RECORDERS

PREPARATION FOR RECORDING In order to make the most of your visits to record in a church, some preparation is essential. Familiarise yourself with this Handbook and the relevant Section in the Sample Pages. There are two essential books from which Church Recorders’ terminology is taken: • Inside Churches; a guide to church furnishings published by NADFAS • Recording a Church: an illustrated glossary, published by the Council for British Archaeology • if relevant, The Church in Scotland, a brief history and glossary for NADFAS Church Recorders, available from your Group Leader There is a range of effective support and training available for all Recorders including practical General support from experienced Recorders, as well as Area study and training days. For many objects Information expert advisers can also be consulted (see List of Expert Advisers).

All Records should be set out according to an authorised format given in Guidelines for the Layout of a Record in this Handbook.

When using a computer to enter your notes, you may find it helpful to use Church Recorders’ Styleguide, a template that helps with the format. It can be installed on a computer which has Microsoft Word or on an Apple MAC. The programme and instructions for use can be obtained from the Volunteering Department at NADFAS House.

Supplements, suitable for all Sections, available on the NADFAS website Guidelines for Heraldry Useful Addresses and Websites List of Expert Advisers List of Heraldry Advisers

Additional supplements specific to individual Sections are noted in the relevant part of this Handbook. It is useful to obtain copies of the general and subject supplements which apply to your Section before you start.

Accessing Church Recording pages in the members’ area of the NADFAS Website If you do not have a password to log in to the members’ area contact the Membership Department at [email protected] You will be emailed your password and guidance notes.

March 2014 5 GENERAL INFORMATION FOR RECORDERS

Recording in the church Whilst working in the church, please remember to wear your badge and take any relevant books. Recorders must always respect the sacred nature of the building and its contents. Take care not to cause any inconvenience by your presence, and always apply the security measures needed to protect potentially valuable objects. Every object should be handled with care and replaced as found, after it has been recorded. Recorders ideally work in pairs or small groups, covering one or more of nine Sections. 001-099 Memorials Information

General 100-199 Metalwork 200-299 Stonework 300-399 Woodwork 400-499 Textiles 500-599 Paintings etc 600-699 Library 700-799 Windows 800-899 Miscellaneous

The initial planning of a Section needs to be done in liaison with the Group Leader. Using the guidance in this Handbook and referring closely to the Sample Pages, the first task is to identify the objects to be included in your Section. Each object in the Section has a number.

THE NUMBERING SYSTEM Begin by making a list of objects to be included and give each object a number. • Check Section notes for any dedicated numbers eg in Miscellaneous, 800 is reserved for the organs. • Start numbering at the liturgical east end (pulpit end in a non-conformist church) unless the Section notes say otherwise. Work in a clockwise direction round the church. You may choose to complete an area (eg the Chancel before starting the Nave) if this seems sensible. • If an object is made of more than one material, decide, in consultation with your Group Leader, in which Section it should be included. The most important component should be the deciding factor eg a wooden pulpit with a stone base and a metal reading desk would be recorded in Woodwork. • No object should be recorded more than once, or have more than one number allocated to it. • If the number of objects exceeds 99, start again by adding a prefix number eg Metalwork the next number after 199 is 1100; Library the next number after 699 is 1600. • A number can be subdivided for similar objects eg 308A, 308B, for a series of tables. • One number can be used when recording a pair or set of objects eg 324 CHAIRS (2). Hand a copy of your list to the Group Leader and to the Photographer with a note of the objects which should be photographed.

6 March 2014 GENERAL INFORMATION FOR RECORDERS

RECORDING AN OBJECT USING THE 1-10 FORMAT By working in pairs Recorders can check details and ensure that descriptions are clear and accurate. Descriptions should be able to be readily visualised by the reader and easy to read. With some exceptions each object is recorded as follows, using the 1-10 format under a bold title line. Title line Number Name of object Photograph(s)/drawing Position in church 301 COMMUNION TABLE Ph(s) SANCTUARY, E wall NB If there is no information for any number, indicate this in the final typed copy by a dash.

1 DESCRIPTION Unless the object is very simple begin with a sentence giving an overall General

description followed by a description of the details in logical order. For objects of a complicated Information shape, a drawing or photograph can save words. Drawings should be done in pencil or ink on plain paper and numbered before scanning for insertion into the Record. • Note the location of any TEXT and how it is formed eg painted, carved or incised, embroidered, gilded or filled. • Include the location, form and text (if any), of an artist’s or manufacturer’s signature, logo or label. • Note the style (eg roman, gothic, italic) and type of lettering eg capitals (caps) and/or lower case (l/c) of all text. • Include the location and text style and type of any tablet or plaque associated with the object. • State if the spelling is archaic and if the ‘long s’ is used. • If there is incorrect or unusual spellings transcribe it, followed by (sic). Transcribe all text here unless it is a Memorial or Dedication inscription, see 9 below for information on how to transcribe the text. Heraldry see Heraldry Supplement, in Scotland see the Heraldry Notes in The Church in Scotland, a brief history and glossary for NADFAS Church Recorders. Note the location of any heraldry, and say what form it takes (achievement of arms, armorial shield, lozenge or cartouche) and how the arms are depicted (relief-carved, painted, hatched, incised). • Use a local heraldry expert to help with blazoning (Blazon = a description in heraldic terms) and to check for accuracy. A blazon taken from a book or document must be checked against the object and if there is a discrepancy it must be noted. (See 001 in Sample Pages for how to do this). A family name should not be attached to an incorrect blazon. • The blazon must be inserted at the point in the description where it occurs. The word ‘Blazon’ appears at the left margin of the text and the blazon itself is indented. If there are no colours (tinctures) visible (either painted or hatched) then the names of the colours in the blazon are put in round brackets. All colours should have initial capitals and not be abbreviated. The term Proper counts as a colour. The family name is put in square brackets. Translation should be provided of all Latin and foreign language texts, and roman numerals into arabic numbers. Condition If other than apparently satisfactory, please describe the damage at the end of 1 and state its position on the object.

March 2014 7 GENERAL INFORMATION FOR RECORDERS

2 MATERIAL A list of main materials only.

3 DATE of manufacture If the precise date when the object was made is not known, there may be evidence for an approximate date in a century: eg first quarter 19th century. Beware of using date of death or donation as evidence for date. Please don’t guess. Avoid using the term modern or art-historical terms such as Norman or Victorian.

4 MEASUREMENTS All measurements (usually just overall needed) must be given in

Information centimetres (cm). Give the weight (wt) of gold, silver, or pewter in grams (g) before the linear General measurements. The format for giving height, width and depth is eg h. 47 x w. 35 x d. 0.5cm (always in that order). For two dimensional objects, eg textiles and floor slabs, length (l.) x width (w.) cm may be used eg l. 15 x w. 25cm The abbreviation diam should be used for diameter.

5 ARTIST, designer or craftsman etc Only the name is required here.

6 MANUFACTURER or retailer as 5.

7 HISTORY of object, eg a repair or change of location and/or family or artist, if relevant. Give a reference for the information.

8 DONOR and date of presentation to the church Only the name and date of presentation to the church are required here.

9 MEMORIAL or dedication inscription Only memorial, or dedicatory inscriptions are transcribed here. Use one of the following formats: The text, (including punctuation, accents and contractions) may be transcribed with the lines running on with a forward slash/to mark the end of a line, and a final/to mark the end of the text, or text of more than one line may be laid out as it appears on the object. • DO NOT type ‘f’ or any other symbol with a crossbar for the ‘long s’. The correct symbol is ∫. Remember to put (sic) after an archaic spelling or a mistake unless you have said at 1 that archaic spelling is used. • DO NOT attempt to reproduce lettering styles using computer fonts. Non- standard fonts corrupt when the document is converted to a PDF file. • Quotations which are not part of a memorial or dedication should be transcribed in 1. • Check the transcription against the object after it has been typed as accuracy is of the greatest importance.

10 REFERENCES All recorded information which is not the result of observation has a source which is quoted at 10. Firstly indicate that there is such a source, immediately after the information concerned, by a letter (ref a), (ref b) etc. The source noted at 10 may be • book give the author, title, edition, publisher, and page reference in the format given on page 147 of Inside Churches • documents eg Faculties give type of document, date, accession number if there is one • oral eg Orally Mr Jones, churchwarden, May 2010 • website eg Website of St Mary’s, Newtown; Carter family website – give date of consultation • expert give name and status eg John Smith, heraldry expert

8 March 2014 GENERAL INFORMATION FOR RECORDERS

If a reference is used often an abbreviation can be used. eg. VCH for Victoria County History – give volume and page number. Entries under 10 should be made only as the authority for specific pieces of information and not just to indicate that the object is referred to in a particular reference book or document. When you have completed the recording of a few objects, pass the notes to your Group Leader to seek feedback and to assist ongoing compilation.

Finally when you have finished recording, give • Memorials Recorders, for inclusion in their list of Gifts given in Memory, for each gift the name(s) of the dedicatee(s), with their date(s) of death and the relevant object number. General • Group Leader/Compiler Information  a list of all names in the Section with their relevant object numbers (noting any agreed exclusions)  a list of all artists, craftsmen etc with their trade and relevant object number  copies of any letters or emails you have received from experts for inclusion in the Record, omitting personal details Agree with your Group Leader who is to complete and send off any relevant information forms. The forms are listed in this Handbook and can be downloaded from the NADFAS website. Checklist, there is a specific checklist at the end of each Section.

Research For identifying and describing objects, the books and supplements given above and in the individual Section notes can be supplemented by • books from the bibliography at the end of this Handbook • Notes and Queries, on the website

Further information It is very satisfying to research the objects you have recorded so that you can complete as many as possible of the details for the 1-10 format. Keep careful notes of • references used. Give full details (author, title, publisher, date) to your Group Leader/Compiler for inclusion in the appropriate section of the Introductory pages of the Record • sources (bibliographical details of a book; or type of document and reference number) • date and page number of any information that you use in 1-8 of the format so that these details can be included in 10

Liaise with your Group Leader or Library Recorder regarding information from church documents. The original documents relating to the church need to be located for listing in the Record. This is usually the responsibility of the Library Recorders and information on how to do this is given in the Library Section. Once they have been located, best practice would be to examine this material to search for information regarding material, dates, artists and manufacturers, and donors. While it does not matter who undertakes this task, there needs to be liaison between Recorders to avoid duplication. The Group Leader should make sure that everyone knows the arrangements for passing on information to the relevant Recorders. This could be made into a History File for the whole group to use, or circulated to group members via email.

March 2014 9 GENERAL INFORMATION FOR RECORDERS

Consult a local or national expert adviser, if relevant, via your Group Leader. NB a good photograph will be required by the expert. Remember to send a SAE if your enquiry is sent by post.

Consult the following sources of information, if relevant: • church guidebook and church magazines • Pevsner N, The Buildings of England/Scotland/Wales/Northern Ireland Series. • Victoria County History at www.victoriacountyhistory.ac.uk Information

General • libraries usually have local history books; or newspaper archives which are useful if you have an approximate date • local Historical, Archaeological or Antiquarian Society publications often have articles on important objects in churches

Consult people associated with the church and parish. One can often find out who made or gave objects, or when it was made, and to whom personal initials refer.

GLOSSARY During the course of recording in the church or in a record office, you are likely to encounter abbreviations and terms which may be unfamiliar. DAC – Diocesan Advisory Committee. PCC – (Parochial Church Council) the committee that runs the church. Diocese – the Church of England executive area headed by one or more bishops and archdeacons. Church Log Book – if there is one, the current copy is usually held by the vicar or churchwarden. It is a chronological account of the movement of items in and out of the church and often provides useful information about donors. Faculty – Diocesan permission for introducing objects or removing them from a church and for carrying out alterations. Introduced in the 19th century and made compulsory in the mid 20th century. Archdeacon’s Certificate – Diocesan permission similar to a faculty but awarded for less important matters. Register of Services – a register of services held in the church, might include dedication dates for new objects. Terrier – an official inventory of church property. Quinquennial Report – a report based on inspection of the church buildings every 5 years by the Diocese. NB These terms apply to the Church of England. The Presbyterian tradition in Scotland, the Church of Ireland, Episcopal Churches and the Roman Catholic Church have different arrangements and terminologies.

10 March 2014 MEMORIALS (001-099)

WHAT TO INCLUDE Brasses (including indents or matrices which would once have held brasses), coffin lids and floor slabs/ledgerstones (even if you don’t know who they are for or cannot read the inscription), effigies, monuments, table tombs, tomb chests, wall tablets, War Memorials and Rolls of Honour on any object of any material, except a window which is noted here but recorded in Windows (see NUMBERING below) In Scotland, memorial tablets attached to the external walls are recorded.

WHAT TO EXCLUDE Anything which relates to a gift in memory. For example a plaque noting that a window was given in memory is recorded in Windows with the relevant window.

BEFORE YOU RECORD These Section notes should be used in conjunction with Sample Pages, General Information for Recorders (in this Handbook) which includes Recording an Object in the 1-10 format; together with the books Inside Churches and Recording a Church: an illustrated glossary.

Useful Books (see Bibliography for full details) Roscoe, I et al, Dictionary of British Sculptors 1600-1851 Yale University Press 2009 or www.henry-moore.org/hmi/biographical-dictionary-of-sculptors-in-britain

Lack, Stuchfield & Whittemore The Monumental Brasses of [County] Memorials Rice M, Rice’s Architectural Primer Bloomsbury 2009

The books below can be read at www.archive.org and are helpful for describing costume. Macklin HW, The Brasses of England EP Group 1975 Haines H, Monumental Brasses See also General and Architecture books in the Bibliography

Supplements available on the NADFAS website Latin on Brasses Guidelines for Heraldry

PHOTOGRAPHY Most objects in this section will need one or more photographs. Liaise with your Photographer and Group Leader to decide which objects should be photographed. Additional close-up photographs of details such as heraldry and costume should be provided.

NUMBERING • Location plan of the Memorials Number the memorials as set out in General Information and mark the numbers on a plan of the church to indicate the location of the memorials. If there are many floor slabs, you may, if you wish, number the other memorials first and then add the floor slabs, at the end. This should be agreed with your Group Leader. • Although a war memorial window will be recorded in Windows, the following statement giving the object number must be made at the beginning of this Section “For War Memorial window see 7—.” • Gifts in Memory The final number in this section is a list of objects (with their numbers) that were given in memory and have been recorded in other Sections. See Sample Pages for format.

March 2014 11 MEMORIALS (001-099)

RECORDING A MEMORIAL Complete the title line as shown below or in Sample Pages. The title line should be arranged as follows, with the names and dates of death of the deceased placed centrally. If you do not know who the memorial is dedicated to put “unknown”. Sometimes there is an indication of date or sex, so that one can put, for example “Unknown Female d.c1450”. If there is insufficient room on the title line for the name and date of the deceased, you can enter it centrally on the line below. The distinction between a wall monument and wall tablet needs to be established and be consistent. For a monument the sculptural and architectural features are the major elements. A tablet is smaller in scale and the inscription panel forms the major element.

001 WALL MONUMENT Phs Thomas Wainwright d.1736 CHANCEL, S Wall Sarah Wainwright d.1800

Complete as far as possible the ten pieces of information requested in the 1-10 Format Memorials beginning with a description at 1. Some objects of lesser importance or with less information to supply may be recorded without using the 1-10 format but any information given should be set out in the same order, ie description first followed by dimensions. See Sample Pages for examples. The notes below give additional points to take into account when recording this section.

1 Correct architectural terms should be used when describing a memorial. The dress of a figure should be described accurately as well as noting any paint – even if it is only traces. Do not use terms such as ‘contemporary dress’. (see Bibliography for books to help with costume). • Note any difference in lettering style between different parts of the inscription or added inscription panels which might indicate later additions. • Please make clear whether the source of a Biblical text appears on the object, or is the result of your own research.

Heraldry Note the location of any heraldry, and say what form it takes (achievement of arms, armorial shield, lozenge or cartouche) and how the arms are depicted (relief-carved, painted, hatched, incised). • Use a local heraldry expert to help with blazoning (Blazon = description in heraldic terms) and to check for accuracy. A blazon taken from a book or document must be checked against the object and if there is a discrepancy it must be noted. (see 001 in Sample Pages for how to do this). A family name should not be attached to an incorrect blazon. • The blazon must be inserted at the point in the description where it occurs. The word ‘Blazon’ appears at the left margin of the text and the blazon itself is indented. If there are no colours (tinctures) visible (either painted or hatched) then the names of the colours in the blazon are put in round brackets. All colours should have initial capitals and not be abbreviated. The term Proper counts as a colour. The family name is put in square brackets. Remember to blazon heraldry for every object, even if it is the same as on another memorial. Where the blazon is repeated on the same memorial, the family name replaces the full blazon in the repetition(s) as shown in Sample Pages.

12 March 2014 MEMORIALS (001-099)

Floor Slabs/Ledgerstones Note the alignment of a floor slab if it is other than west-east. Condition At the end of 1, note any damage, missing parts or detached fragments, eg cracked inscription panel and right wing of putto missing.

2 If the material cannot be identified exactly, use a generic term like stone or marble. If you are able to be more specific, add a reference.

3 It is unsafe to use the date of death as the date of manufacture as memorials may have been made before or long after the death of the commemorated. Look out for different dates where subsequent inscriptions have been added later.

4 Overall measurements – say “Inaccessible” if you have no way of measuring.

5-6 Many sculptors and locations are included (and indexed) in Roscoe (see Bibliography for details). This may provide you with additional information about the sculptor for use at 5 and 6. In this case transcribe the signature at 1, eg J. SMITH fecit, and at 5 and/or 6 add the extra information with a reference, eg John Smith junior (ref a), giving Roscoe as your reference at 10.

7 If the same history relates to more than one memorial you can cross reference the information Memorials rather than repeating it, eg For a history of the family see 003.

8 A donor is sometimes included in the inscription (eg erected by their son, John Hall). Where no name is given (eg erected by their son) then the relationship (eg son of William and Mary Hall) should go here with any date given.

9 If there is a lot of archaic spelling you can say so in 1 with your description of the lettering in order to avoid excessive use of ‘sic’. The correct symbol ∫ must be used to represent the ‘long s’. Do not use a symbol with a crossbar such as f. Accents and contraction marks must be reproduced. If a symbol cannot be reproduced digitally it must be reproduced by hand on the printed page. If parts of the inscription are illegible, transcribe what you can decipher, marking gaps with a square bracketed section with a dash for each missing letter or word. Filling the gaps in your memorial inscription from an earlier transcription. Replace the dashes in the memorial text with the words or letters from the document, but keeping them within square brackets. Put a reference letter (ref a) at the end of the inscription, and put the source reference after a) in 10. If the inscription is totally illegible, but you know what it should be from another source, put the whole inscription in 7 (rather than 9) with a reference letter and give details of the source in 10. In each case you need to add a sentence in 1 explaining what you have done. Eg “Much of the inscription is illegible and the bracketed text at 9 has been taken from an earlier transcription. (ref a)” with the source reference under 10 a). All inscriptions must be thoroughly checked, once typed, for accuracy against the original.

10 As format. Hints Where an inscription is worn it is sometimes easier to read by shining a torch sideways or by wiping with a damp cloth. Failing this, with the agreement of a churchwarden, a small amount of talcum powder can be applied to help. A maker’s signature may be found at the side or under part of a memorial.

March 2014 13 MEMORIALS (001-099)

FOLLOW-UP RESEARCH Use the Bibliography as well as the Research paragraph at the end of the General Information to discover more about the memorials and families. In particular you should liaise with your Library Recorder or researchers to know whether there are faculties for memorials or whether any other relevant information has been found.

When you have completed your final draft • add a list of Gifts given in Memory, details of which you have received from other Section Recorders, as the final number

Give your Group Leader/Compiler • a list of all names in the Section with their relevant object numbers, noting any agreed exclusions • a list of all artists, craftsmen etc with their trade and relevant object number • copies of any letters or emails you have received from experts for inclusion in the Memorials Record, omitting personal details Agree with the Group Leader who is to complete and send off any relevant information forms. The forms are listed in this Handbook and can be downloaded from the NADFAS website.

SECTION CHECKLIST

Plan of church showing position of memorials Names of all commemorated and year(s) of death in heading Consistent use of terms wall monument and wall tablet Heraldry is blazoned and presented as requested in General Information Names of sculptors/makers are in 5 and 6 but position of name and letter style in 1 Memorial inscriptions are in 9, but position and letter style in 1 Literary and Biblical quotations are in 1 unless part of inscription Translations made of all text in a foreign language and of roman numerals into arabic numbers Reference given for any information not on the object

14 March 2014 METALWORK (100-199)

WHAT TO INCLUDE Alms dishes, altar crosses and crucifixes, armour, basins, candle extinguishers, candle snuffers, candlesticks, chalices, chandeliers and candelabra (if ornate, but not ordinary lighting), churchwardens’ staves, ciboria, communion cups, communion rails, cruets with precious metal fittings, ewers, flagons, gates and screens, hand bells, incense boats, keys (old, special and loose, and not in use), lecterns, metal boxes (both large trunks and offertory boxes but not safes), missal stands, patens, portable sacramental objects including their cases, processional crosses, spoons, tower bells, vases and flower stands, vergers’ wands, votive candle stands. Any memorial or dedication tablet or plaque relating to an object but not part of it must be recorded with the object.

WHAT TO EXCLUDE Safes, and objects of mixed materials where the metal is not the material of the main purpose of the object and which will be recorded elsewhere. For example communion rails with wooden rails and wrought iron supports are recorded in Woodwork, and a brass desk on a marble pulpit is recorded in Stonework. Check that you do not include anything on loan to the church and which does not belong to it.

BEFORE YOU RECORD These Section notes should be used in conjunction with Sample Pages, with the General Information for Recorders (in this Handbook) which includes Recording an Object in the 1-10 Format, together with the books Inside Churches and Recording a Church: an illustrated glossary.

Useful Books (see Bibliography for full details) These are all important books, which give useful information and help with terminology: Emmerson R, Church Plate Church House Publishing Hull C, Pewter Shire Publications 1992 Metalwork Jackson CJ, Jackson’s Hallmarks ed. Pickford I, Antique Collectors’ Club Pocket Ed 2000 Wyler SB, The Book of Sheffield Plate: with All Known Makers’ Marks including Victorian Plate Insignia Bonanza Books New York 1949 The following reference books may be found in a public library Jackson CJ, Jackson’s Silver & Gold Mark ed. Pickford I, Antique Collectors’ Club 1991 Grimwade A, London Goldsmiths 1697-1837 (good for biographical details) Culme J, Directory of Gold and Silversmiths 1838-1914 Peal C, Pewter of Great Britain Various authors The Church Bells of [County] Supplements available on the NADFAS website Silver Makers’ Marks Brass chandeliers Bell Recording forms (required for recording details of the tower bells. See Tower Bells paragraph).

LOCATION OF OBJECTS Check whether any objects belonging to the church are kept elsewhere, for example in a bank or the diocesan treasury. Special arrangements will have to be made to record and photograph them at one session.

March 2014 15 METALWORK (100-199)

PHOTOGRAPHS AND DRAWINGS Liaise with the Photographer and Group Leader to decide which objects need to be photographed so that special details are not overlooked. Reproducing an image of a hallmark is done either by photographing and enlarging or by ‘smoking’ the set of marks for scanning and inserting as shown below. ‘Smoking’ is a technique which avoids the problem of reflections. It involves holding the hallmark above the flame of a traditional wax candle to blacken it with smoke (it takes a few seconds), allowing it to cool and then covering the hallmark with transparent Scotch Magic Tape, which you smooth, but not press, down to keep the image sharp, lift off and transfer to plain white paper and then scan for insertion into the text. It is a good idea to practise on something of little value at home first. Hallmarks on objects which are very fragile, or include parts made of glass, or have been gilded or plated, or have very modern finishes or laser hallmarks, must be photographed (and not ‘smoked’) to avoid damage. (See Hallmarks paragraph)

NUMBERING • Objects in Metalwork are not all numbered clockwise round the church. The sequence starts with objects made of precious metal or pewter in the following order: gold, Britannia silver, and sterling silver, and in date order within each metal grouping. Then silver plated objects followed by pewter. The numbering then continues with objects made of brass and other base metals, and finally bells, with hand bells first and, at the last number, tower bells. It is important to keep pairs together and to record sets of objects as a group, and to include any case or box in the group, eg Portable communion set: 104A Chalice, 104B Paten, 104C Case. Metalwork • Establish your numbering order and agree the list with your Group Leader and Photographer.

PRECIOUS METAL OBJECTS When handling precious metals, remember to wear white cotton or latex gloves, support hinged lids, and use a soft tape for measuring. You will need metric scales to weigh objects made of gold, Britannia silver, sterling silver, silver gilt and pewter (but not silver plated items).

RECORDING AN OBJECT Complete the Title Line as shown in the Sample Pages or General Information in this Handbook. Complete as many as possible of the ten pieces of information requested in the 1-10 Format beginning with a description at 1. Some objects of lesser importance or with less information to supply may be recorded without using the 1-10 format, but any information given should be set out in the same order eg description followed by dimensions. See Sample pages for examples. The notes below give additional points to take into account when recording this Section. Example The following example, which is in the 1-10 format and uses a smoked hallmark, shows some extra points to remember for precious metal objects. Additional statement at the head of the Section: It may be decided to enlarge some of the hallmarks when they are scanned into the text, in which case the following statement should be added: All hallmarks in the text are enlarged unless otherwise stated. Title line All precious metal objects must have photographs (Ph), but their location is never given.

16 March 2014 METALWORK (100-199)

103 CIBORIUM Ph 1 In addition to all the other information, the location, description and interpretation of the hallmarks are given here. eg: There are five hallmarks 1cm below the rim of the cup: maker (EPin roman caps in a rectangle), lion passant, leopard’s head, date letter (gothic cap R in a rectangle with clipped corners), sovereign’s head. On the rim of the lid, three hallmarks, matching those on the cup: maker, lion passant, date letter. It will only be necessary to include the detail in brackets if a clear reproduction of the hallmarks is not possible. In addition to the full hallmark on the main body of the object, a partial hallmark should also be found on all the removable or hinged parts. 2 Chalices and communion cups are often gilded inside and are then recorded as: Sterling silver, parcel gilt. (parcel = partly) 3 Date made and assay office: 1852-53. Date letter R London. (ref a) 4 Measure, beginning with the weight in grams: wt. 375g. h. overall 18, h. of bowl 9 x diam of rim 9, diam of foot 11cm. 5-6 E P for Edward Pairpoint. (ref b) 7-9 As format. 10 a) Jackson, p 34. b) Goldsmiths.

HALLMARKS The hallmarks here, made by ‘smoking’, show the maker’s mark EP in roman caps in a rectangle, the lion passant for sterling silver, the leopard’s head for the London Assay Office, the Metalwork London date letter and the compulsory duty mark of the sovereign’s head as applied between 1784 and 1890. In the 20th c, voluntary commemorative marks for royal events (coronations and jubilees) may also be found. Different assay offices have different symbols, Sheffield a crown, Birmingham an anchor and a castle for Edinburgh. Before 1975, the date-letter cycles started on 19th May (Feast of St Dunstan, patron saint of goldsmiths) when the new Assay Master was elected, hence in this example R is expressed as 1852-53. But the letters were not synchronised between offices so care is needed to select the matching style of letter and shape of shield from the right assay office list in the Pocket Edition of Jackson’s Hallmarks. This is an essential book and will help you identify many of the makers and dates but please consult with your CR Area Representative and read the introduction to the Silver Makers’ Marks supplement to follow the correct procedures. When trying to identify silver makers, begin by looking in the Pocket Jackson and in the Silver Makers’ Marks supplement and then in any of the other reference books listed above. Ask your Area Representative who may have a record of makers’ marks found in the Area and be able to identify it. There are also online catalogues of silver makers’ marks for the various Assay Offices which do give clear marks to check against but, as online information is not always reliable, if you are in any doubt, check with the Librarian at the appropriate Assay Office. Only send the relevant page and not the whole section, and, if you write, enclose a stamped self-addressed envelope. (Assay Offices’ details are in the Useful Addresses and Websites Supplement).

Silver-plated objects do not have the Assay Office hallmarks but may have a maker’s mark or be labelled EPNS (electro-plated nickel silver). No weight is given for silver-plated items. Pewter items may have a maker’s mark and, in the case of 17th c pewter, there may also be a triad ownership mark of three initials, the upper one for the surname and the lower two the initials of the man and the woman. Pewter is soft so only photograph the marks. For more information contact the Pewter Society. (See Useful Addresses Supplement).

March 2014 17 METALWORK (100-199)

TOWER BELLS Recording the tower bells should be done in conjunction with the Tower Captain. You are not required to go into the bell chamber. If there is no Tower Captain you may find the Diocesan Advisory Committee (DAC) Bells adviser may be able to help. You may also find details in the last quinquennial inspection by an architect or by contacting bell founders or bell hangers. All information, including that on the Bell forms is then incorporated into the 1-10 format as shown in Sample Pages. This is the one occasion in the Record when imperial measurements (inches and cwt) are acceptable. Bells are made of bell metal (which is 77% copper, 23% tin) so at 2 put: Bell metal. Add the material of the frame if known eg: Frame oak. In many parts of the UK bells were listed in a series of books called the Church Bells of [County]. These were written in the late 19th and early 20th centuries so will only be relevant for bells that predate the book and have not been recast since. Your county book may provide many of the details needed to complete this section, plus the bonus of information about the bell founder and the ringing practices of the church. You may also find a facsimile of the bell inscription and diameter of the bell mouth which can then be scanned into the Record. Anne Haward’s book, Making Sense of It, (see Bibliography) may help you translate the inscription and the local Victoria County History series or British History Online www.british-history.ac.uk may provide more background information to make a very interesting bell record. Where there are three or more bells, more details may be found online at www.dove.cccbr.org.uk

When you have completed your final draft give

Metalwork Memorials Recorders, for inclusion in their list of Gifts given in Memory, for each gift the name(s) of the dedicatee(s), with their date(s) of death and the relevant object number. • Group Leader/Compiler  a list of all names in the Section with their relevant object numbers (noting any agreed exclusions)  a list of all artists, craftsmen etc with their trade and relevant object number  a tidy copy of the bell forms for inclusion at the end of the Section, omitting personal details  copies of any letters or emails you have received from experts for inclusion in the Record, omitting personal details Agree with your Group Leader who is to complete and send off any relevant information forms. The forms are listed in this Handbook and can be downloaded from the NADFAS website.

SECTION CHECKLIST

Check that precious metals have been recorded in the right order Smokings or digital photographs of hallmarks have been identified and references given Memorial and dedication inscriptions are in 9, but position and letter style in 1 All other inscriptions and quotations are in 1 Reference given for any information not visible on the object Help given on site with recording the bells acknowledged at 10

18 March 2014 STONEWORK (200-299)

WHAT TO INCLUDE Altar slabs (mensae), altar pieces (retables), arches and arcades, brackets, corbels, doorways, fragments of crosses or carved stones (whether built into, attached to the wall or loose in the church), gradines, graffiti, fonts (including the font cover and any metal furnishings), label stops, masons’ marks, mass dials, niches, piscinae, pulpits, recesses, reredoses, roof vaults, screens, sedilia, statuary, stoups, string courses, unglazed or louvred openings in the tower. Elaborate structural features surrounding a window should be recorded here, quoting the Window number and liaising with Windows’ Recorders to ensure it is only recorded once. Any memorial or dedication tablet or plaque relating to an object but not on it must be recorded with the object.

WHAT TO EXCLUDE Walls, all external features except for mass dials. If the church has particularly interesting external carvings which you wish to record then they may be put into the church copy of the Record only.

BEFORE YOU RECORD These Section notes should be used in conjunction with Sample Pages, General Information for Recorders (in this Handbook) which includes Recording an Object in the 1-10 format; together with the books Inside Churches and Recording a Church: an illustrated glossary.

Useful Books (see Bibliography for full details) Harris J & Lever J, Illustrated Dictionary of Architecture Faber & Faber 1993 Curl JS, Encyclopaedia of Architectural Terms Donhead 1992 Pevsner N, Architectural Glossary Rice M, Rice’s Architectural Primer Bloomsbury 2009 Supplements available on the NADFAS website Recording Mass Dials. Guidance on how to record mass dials can be found in this supplement. It also has contact details for the British Sundial Society to whom information should be sent about any mass dials you find.

PHOTOGRAPHY Liaise with your Photographer and Group Leader to decide which objects should be photographed. Close-ups of distant objects such as label stops and corbels should be Stonework provided.

NUMBERING • Start at the east end and number clockwise. • Doorways can be grouped under one number and given consecutive alphabetical numbers eg 210A. This helps when quoting the number for doorways in the description of doors in Woodwork. • Graffiti and masons’ marks are usually put at the end of the Section with mass dials as the final number but this is not essential.

RECORDING AN OBJECT Complete the title line as shown in Sample Pages or General Information in this Handbook. When giving the location note that most arches, screens and interior doorways have two locations since they lead from one area to another. Use a forward slash to divide the two locations eg: CHANCEL/VESTRY. For doorways always quote beneath the title line the number of the equivalent door in Woodwork. eg For Door see 324A.

March 2014 19 STONEWORK (200-299)

Complete as many as possible of the ten pieces of information requested in the 1-10 Format beginning with a description at 1. Some objects of lesser importance or with little information to supply may be recorded without using the 1-10 format, but any information given should be set out in the same order eg description followed by dimensions. See Sample Pages for examples. The notes below give additional points to take into account when recording this Section.

1 Use the recommended books together with Inside Churches and Recording a Church to find the correct architectural terms to use in your description. Figures must have any costume accurately described and heraldry must be correctly blazoned (see General Information). You may wish to provide a plan (provided by your Group Leader), particularly if there are carved roof corbels or label stops. 2 If you are able to give a particular type of stone do not forget the reference. 3 Give a date. Avoid using the term modern or art-historical terms such as Norman or Victorian. 4 Make it clear whether your measurement is internal or external for objects such as a piscina. For fonts give measurements of the bowl, the stem, the base and the plinth. Measurement of structural objects like arcades is not required. 5-10 As format. Hints The entry for the church in Pevsner’s Buildings of England series will often give you a description of features such as the arcade or tower arch. The Victoria County History books are also useful sources for description and dating. If there are Romanesque features you may find photographs and descriptions on the website of the Corpus of Romanesque Sculpture in Britain & Ireland. www.crsbi.ac.uk

When you have completed your final draft give • Memorials Recorders, for inclusion in their list of Gifts given in Memory, for each gift the name(s) of the Dedicatee(s), with their date(s) of death and the relevant

Stonework object number. • Group Leader/Compiler  a list of all names in the Section with their relevant object numbers (noting any agreed exclusions)  a list of all artists, craftsmen etc with their trade and relevant object number  copies of any letters or emails you have received from experts for inclusion in the Record, omitting personal details Agree with the Group Leader who is to complete and send off any relevant information forms. The forms are listed in this Handbook and can be downloaded from the NADFAS website.

SECTION CHECKLIST

Font, cover and hoist (where applicable) recorded together Doorways cross-referenced with doors in Woodwork Reference given for any information not on object

20 March 2014 WOODWORK (300-399)

WHAT TO INCLUDE Altars, altarpieces, benches, biers, bookcases, chairs, chests (including iron bound), communion rails, credences, cupboards, doors and door furniture, internal gates, gradines, lecterns, litany desks, missal stands, niches, pulpits (including all fittings of any material), pews, roods, roofs, reredoses, screens, sedilia, shelves, stalls, stools, tables, vestment chests, wooden statues etc. Any attached metal fittings should be described. Any memorial or dedication tablet or plaque relating to an object but not on it must be recorded with the object.

WHAT TO EXCLUDE Font covers (unless the font is also of wood). Liaise with Recorders of Miscellaneous about wooden objects, such as sets of folding chairs, ladders etc to ensure they are only recorded once.

BEFORE YOU RECORD These Section notes should be used in conjunction with Sample Pages, General Information for Recorders (in this Handbook) which includes Recording an Object in the 1-10 format; together with the books Inside Churches and Recording a Church: an illustrated glossary.

Useful Books (see Bibliography for details) Corkhill TA, A Glossary of Wood Stobart & Co 1979 Geddes J, Medieval Decorative Ironwork in England Tisdall MW, God’s Beasts Charlesfort Press The following books can be read on www.archive.org Cox C & Harvey A, Church Furniture Methuen & Co Howard F E & Crossley FH, English Church Woodwork

PHOTOGRAPHY Liaise with your Photographer and Group Leader to decide which objects should be photographed. Photographs of complicated or elaborate mouldings which are difficult to describe are necessary.

NUMBERING • Number from east to west clockwise round the church. Doors can be grouped under one number and given consecutive alphabetic numbers eg 310A. This helps when quoting the number for doors in the description of doorways in Stonework. • Sets of objects such as an altar cross and candlesticks may be recorded under one number, as A, B etc. • Roofs are given the final number in the section. • Make a numbered plan or drawing to show main seating unless very simple.

RECORDING AN OBJECT Complete the title line as shown in Sample Pages or General Information in this Handbook. Woodwork Note that most doors and screens have two locations since they lead from one area to another. Use a forward slash to divide the two locations eg: CHANCEL/VESTRY. For doorways always quote beneath the title line the number of the equivalent doorway in Stonework eg: For Doorway see 224A. If doors are grouped together then they are given the penultimate number in the Section.

March 2014 21 WOODWORK (300-399)

Complete as many as possible of the ten pieces of information requested in the 1-10 Format beginning with a description at 1. Some objects of lesser importance or with little information to supply may be recorded without using the 1-10 format, but any information given should be set out in the same order eg description followed by dimensions. See Sample Pages for examples. The notes below give additional points to take into account specific to this Section.

1 Use the correct terminology when describing woodwork. If the shape of an object is complicated a drawing or photograph will save words. Describe the interior of a door with all its door furniture and then the exterior. 2 Identify the wood if possible. 3 Note dates that an item was made and/or restored. 4 Overall dimensions only. 5-6 As format. 7 Give details of any history associated with the object eg, re-ordering of benches, remodelling or restoration. 8-10 As format. Remember to give References at 10. Hints Group under one number similar moveable objects such as tables and chairs.

When you have completed your final draft give • Memorials Recorders, for inclusion in their list of Gifts given in Memory, for each gift the name(s) of the dedicatee(s), with their date(s) of death and the relevant object number. • Group Leader/Compiler  a list of all names in the Section with their relevant object numbers (noting any agreed exclusions)  a list of all artists, craftsmen etc with their trade and relevant object number  copies of any letters or emails you have received from experts for inclusion in the Record, omitting personal details Agree with your Group Leader who is to complete and send off off any relevant information forms. The forms are listed in this Handbook and can be downloaded from the NADFAS website.

Woodwork SECTION CHECKLIST

Plan of benches, indicating bench fronts and seats Doors cross-referenced with doorways in Stonework Reference given for any information not on object

22 March 2014 TEXTILES (400-499)

WHAT TO INCLUDE Alms bags, altar cloths and all fair linen, antependia, banners, bookmarkers, burses and chalice veils, chasubles, corporals, credence cloths, curtains, dalmatics, dossals, flags/regimental colours (including poles), frontals and superfrontals, funeral palls, hassocks, houselling cloths, humeral veils, kneelers, lavabo towels, mats, pallae/pall boards, pulpit and lectern falls, purificators, riddels, rugs and carpets, stall falls, scarves, stoles, tunicles, veils, vestments etc. Where applicable, include all metal and wooden fitments, eg posts, poles and rails are recorded with their hangings. Any memorial or dedication tablet or plaque relating to an object but not on it must be recorded with the object. WHAT TO EXCLUDE Do not record any vestments or personal possessions belonging to the incumbent, minister or other member of the church. BEFORE YOU RECORD These Section notes should be used in conjunction with Sample Pages, General Information for Recorders (in this Handbook) which includes Recording an Object in the 1-10 format; together with the books Inside Churches and Recording a Church: an illustrated glossary. Useful Books (see Bibliography for full details) Dean B, Ecclesiastical Embroidery Batsford Meakin T, A Basic Church Dictionary Canterbury Press Mayo J, History of Ecclesiastical Dress Batsford Norris H, Church Vestments: Their Origin and Development JM Dent Schoeser M, English Church Embroidery The Watts Book of Embroidery Catalogues from Church Furnishing firms eg J.Wippell &Co, Watts & Co and Vanpoulles Jacksons of Hebden Bridge www.churchkneelers.com for designs of kneelers Watts & Co www.wattsandco.com Jones & Willis 1863-1905 www.archive.org Old & new vestments www.lurzarvestments.co.uk Supplements available on the NADFAS Website Measuring Textiles Recording Altar Linen and Vestments Conservation of Books and Textiles within Churches Recording Army Standards, Guidons and Colours PHOTOGRAPHY Liaise with your Photographer and Group Leader to decide which objects should be photographed. NUMBERING • 400 is reserved for frontals, superfrontals and antependia. If there are none say so and do not use this number for any other object. In a non-Episcopal church 400 will not be relevant. In this case use 401 for the Communion Table cover and 402 for pulpit falls. • Objects made or stored in matching sets may be recorded as sets under the same number. RECORDING AN OBJECT • only use a pencil for making notes and a soft tape for measuring • all textiles should be folded and neatly replaced where they were found Textiles • do not take up carpets without prior agreement Complete the title line as shown in Sample Pages or General Information in this Handbook. Most objects are 20th c or 21st c so state at the top of the Section “All objects in this Section are 20th or 21st century and the condition is satisfactory unless otherwise stated.”

March 2014 23 TEXTILES (400-499)

Because of the regular laundering of linen, you may find that there is always something missing. Count such objects at one visit and state the date when this was done, then put the following statement: “The following objects were present on the day of recording”. Complete as many as possible of the ten pieces of information requested in the 1-10 Format, beginning with a description at 1. Some objects of lesser importance or with little information to supply may be recorded without using the 1-10 format, but any information given should be set out in the same order eg description followed by dimensions. See Sample Pages for examples. The notes below give additional points to take into account specific to this Section. 1 Describe the fabric and mention if the object is hand embroidered or machine made. Avoid using the term “gold” for thread or fringes unless it is gold thread; better to say “gold- coloured”. If you have knowledge of embroidery, name the different types of stitches used. The difference between embroidered and woven material is that in the latter the threads always lie at right angles to each other, whereas in embroidery the threads lie in any direction. If there is a maker’s mark, however it appears, state where it is here, and give the name in 5-6. Kneelers may be recorded in a table (see Sample Pages). Any text other than memorial/dedicatory inscriptions goes here. Remember to give the style of lettering and whether caps or l/c. State condition if other than good, and describe any damage. If needing repair inform the Churchwarden and refer to the work of NADFAS Heritage Volunteers. 2 Give main materials used only. 3 Materials can give a clue to date. If Lurex is used then the object is later than 1946. Gold kid has been popular since about 1960. Rayon was produced from 1901. 4 Kneelers should be measured as they are used, ie horizontally (see Measuring Textiles). 5-10 As format.

When you have completed your final draft give • Memorials Recorders, for inclusion in their list of Gifts given in Memory, for each gift the name(s) of the dedicatee(s), with their date(s) of death and the relevant object number. • Group Leader/Compiler  a list of all names in the Section with their relevant object numbers (noting any agreed exclusions)  a list of all artists, craftsmen etc with their trade and relevant object number,  copies of any letters or emails you have received from experts for inclusion in the Record, omitting personal details Agree with the Group Leader who is to complete and send off any relevant information forms. The forms are listed in this Handbook and can be downloaded from the NADFAS website.

SECTION CHECKLIST

400 Frontals, superfrontals and antependia (dedicated number) Measurements taken correctly

Textiles If some objects such as kneelers have a large number of names they may be excluded from the list in the Introduction. Inform the Compiler of any object numbers that are being excluded References given for any information that is not on object

24 March 2014 PAINTINGS ETC (500-599)

WHAT TO INCLUDE Benefaction boards, commandment tables, hatchments, list of incumbents, peal boards, Royal Arms, Stations of the Cross (all of this group, starting with Royal Arms, then hatchments, are recorded in Paintings etc, regardless of material). Baptismal or cradle rolls (not necessary to transcribe), hanging paintings and anything glazed and framed, photos, plans, prints, maps etc which are on, or intended for, display, wall paintings, texts and stencils, unless excluded below. Any memorial or dedication tablet or plaque relating to an object but not part of it must be recorded with the object.

WHAT TO EXCLUDE War Memorials and Rolls of Honour (always recorded in Memorials), loose photographs and pictures (recorded in Library), memorial plaques relating to objects in other sections. Do not record anything on loan to the church.

BEFORE YOU RECORD These Section notes should be used in conjunction with Sample Pages, General Information for Recorders (in this Handbook) which includes Recording an Object in the 1-10 format; together with the books Inside Churches and Recording a Church: an illustrated glossary. Useful Books (see Bibliography for full details) Brooke-Little JB, Royal Heraldry Pilgrim Press Rouse EC, Medieval Wall Paintings Shire Publications Summers P, (ed) Hatchments in Britain (a series by area) Phillimore Supplement available on the NADFAS website Guidelines for Heraldry

PHOTOGRAPHS AND DRAWINGS Discuss photographs and illustrations for the Record with the Group Leader and Photographer to ensure that special details are not overlooked.

NUMBERING • 500 is reserved for Royal Arms • 501 is reserved for Hatchments. If there are more than one, number 501A, 501B, etc If there are no Royal Arms or Hatchments, put ‘none’ and do not use this number for any other object. Otherwise, from 502 on, start at the east end of the church and work round clockwise, not forgetting the tower, where the peal boards are often located, nor the vestry. It is important to keep pairs or sets together and record them as a group, eg 504A, 504B.

RECORDING AN OBJECT Complete the title line as shown in Sample Pages or General Information in this Handbook. Complete as many as possible of the ten pieces of information requested in the 1-10 Format beginning with a description at 1. Some objects of lesser importance or with little information to supply may be recorded without using the 1-10 format, but any information given should be set out in the same order eg description followed by dimensions. See Sample Pages for examples. The notes below give additional points to take into account when recording this Section. Royal Arms, there is no need to blazon the Royal Arms, nor to use the 1-10 format unless there is something very special about them. Inside Churches has full details to help you identify them and the Sample Pages show how to describe them. The location will go on the title line and the measurements on a separate line after the description. If there have been alterations (sometimes Royal Arms were updated) or additions of initials or dates, the 1-10 format will have to be used and details of changes etc entered in 7.

March 2014 25 Paintings etc PAINTINGS ETC (500-599)

Hatchments should be recorded as shown in Sample Pages. In most cases details, including blazoning, will be found in Hatchments in Britain. Check that the blazoning matches the actual hatchment and note any errors. If in doubt, check with your local heraldry expert. You may find a little more personal detail about the person, but if he or she is already referred to elsewhere, give that object number as a reference eg (for a history of the family see 007). Commandment Tables show the Ten Commandments, the Lord’s Prayer and the Creed, and do not need transcribing in full. Just note in 1 the style of lettering and any archaic spelling or mistakes together with the rest of the description. Framed copies of poems, welcome notices, tables of fees etc do not need transcribing in full. The following must be fully transcribed: Benefaction Boards, List of Incumbents, Peal Boards, Ringers’ Rules, seating notices and commemorative notices. Bells specifications may be recorded here, or in Metalwork as a sub-section notice with the tower bells. Transcriptions should either be set out as on the object or, if very long, continuously with a forward slash/at the end of each line of the inscription and a final/at the end. Put a space each side of the slash so that it shows clearly. Reproductions of paintings: state in 1 very clearly that it is a print or copy and not an original eg A copy of The Flight into Egypt by Rembrandt. The name of the print-maker or copyist can be given in 5-6, but not the name of the original artist. Hints See the Heraldry Advisers List for contact details of local experts. Discuss with your Group Leader who may have other sources of information to explore first but advice on paintings and other works of art can be sought from experts in museums and galleries including the V&A.

When you have completed your final draft give • Memorials Recorders, for inclusion in their list of Gifts given in Memory, for each gift the name(s) of the dedicatee(s), with their date(s) of death and the relevant object number, • Group Leader/Compiler  a list of all names in the Section with their relevant object numbers (noting any agreed exclusions)  a list of all artists, craftsmen etc with their trade and relevant object number  copies of any letters or emails you have received from experts for inclusion in the Record, omitting personal details Agree with your Group Leader who is to complete and send off any relevant information forms. The forms are listed in this Handbook and can be downloaded from the NADFAS website.

SECTION CHECKLIST

Dedicated numbers 500 and 501 used correctly Heraldry is blazoned and set out correctly Check the transcriptions in the typed copy against the objects to ensure accuracy References given for any information not on the object Paintings etc

26 March 2014 LIBRARY (600-699) Library

WHAT TO INCLUDE, archival material, documents, faculties, log books, Bibles, books, Books of Remembrance, unframed photographs, plans and maps, terriers and inventories, registers and records etc. Documents, registers etc held in locations other than the church, eg at the County Record Office or with Church Officials must be recorded. General music books, sheet music and service sheets or the existence of a lending library should be noted but items do not need to be individually recorded. A case of any material in which a book is kept or displayed is recorded with the book.

WHAT TO EXCLUDE Anything in a frame or that belongs to the incumbent or other individual.

BEFORE YOU RECORD, these Section notes should be used in conjunction with Sample Pages, General Information for Recorders (in this Handbook) which includes Recording an Object in the 1-10 format; together with the books Inside Churches and Recording a Church: an illustrated glossary. Useful Books (see Bibliography for full details) Glaister GA, Encyclopedia of the Book Oak Knoll Press 1996 Tate WE, The Parish Chest CUP 2010 Darlow et al, (revised Herbert AS) A Historical Catalogue of Printed Editions of the English Bible British & Foreign Bible Society 1968 Supplements available on the NADFAS website Recording Books Conservation of Books and Textiles within Churches

LOCATION OF OBJECTS This Section records the whereabouts and lists all the primary (original) documentation relating to the church. It is necessary to establish where the current and archive material is held (See Locating Archival Material at the end of this section).

PHOTOGRAPHY Most objects will not need illustrating, but if you have a book cover or title page which is difficult to describe a photograph or drawing may help.

NUMBERING It is not necessary to start at the east end and follow round. There are some dedicated numbers as follows • 600 is reserved for Registers and other items at County Record Offices, and the Diocesan Office/Diocesan Registry. In Scotland archives may be found at Register House in Edinburgh or other depository appointed by the church. Reproduce each list under a heading that gives the name of the office from which it came. This can be a direct reproduction of the list from an email attachment or scanned copy. Each page should be headed identically to the other pages of the section. If there is a large number of pages, it may be possible to exclude items not directly concerned with the church (eg schools, charities, surveyors of highways). • 601 is reserved for Registers in church keeping. This includes those being held by the incumbent, churchwardens, PCC secretary etc. In Scotland they are sometimes lodged with the Minister or Kirk Session. Registers are normally just listed with their dates, but a very old one may be worth recording as a book with a description of the binding etc.

March 2014 27 Library

LIBRARY (600-699)

• 602 is reserved for Faculties and Archdeacons’ Certificates in church keeping. In Scotland this includes letters and permissions from relevant Artistic Matters/Fabric Committees. Record the full date of grant and the purpose for which it was given. • 603 is reserved for Terriers and Inventories and other documents in church keeping. In Scotland this includes property registers and insurance certificates, Fabric Inspection Reports etc. If there are large numbers of documents they may be grouped together under alphabetic sub-headings, eg A PCC minutes; B Insurance documents etc. Remember to give a date where possible. • 604 is reserved for Bibles and prayer books dated before 1851. A transcription, or legible photograph or photocopy should be included of each title page of these books only (see Recording Books supplement). If there is nothing to record under a reserved number, say so. Do not use the reserved numbers for anything else. Books of interest, eg those commemorating a special event or with a special binding, should be recorded in 1-10 format whatever their date. Books may be grouped under types, eg Bibles, prayer books, hymn books etc under one number per set with alphabetic headings.

RECORDING AN OBJECT • only use a pencil for recording and making notes. • wear a protective mask and gloves if you handle books with mould on them (see Recording Books supplement). Complete the title line as shown in Sample Pages or General Information in this Handbook. For a book, this will usually be its title. Complete as many as possible of the ten pieces of information requested in the 1-10 Format beginning with a description at 1. The 1-10 format must always be used for books in 604 and other books of interest (see above). Some objects of lesser importance or with little information to supply may be recorded without using the 1-10 format, but any information given should be set out in the same order eg description followed by dimensions. See Sample Pages for examples. The notes below give additional points to take into account when recording this Section. 1 For Bibles state what they include of The Old Testament, Apocrypha and New Testament. Describe the outside of a book first ie binding, spine, title etc. Then describe any bookplates or inscriptions. Heraldry on bookplates should be blazoned as set out in General Information. You do not need to blazon the heraldry of publishers or Dioceses. Note where the date or publisher is to be found, but put the information in 3 and/or 5-6. 2 Help with identification of binding material can be found in the section entitled Paper in Inside Churches and also in the Recording Books Supplement. 3 In pre 1851 Bibles the date of the Old and New Testament may be different, check the title page of each. In Common Prayer books some indication may be found by looking to see which monarch is named in the prayers (Morning and Evening Prayer) for the Royal Family. For books published by OUP (Oxford University Press) and CUP (Cambridge University Press) see Dating Books by Printers in the Recording Books Supplement.

28 March 2014 LIBRARY (600-699) Library

4 As format. 5-6 Put the publisher in 5-6 as one rarely knows the designer. Engravers go here but not the artists who made the original picture. 7-10 As format. Hint Hymn books and other books in current use are liable to be moved frequently. Count them once, note the date of counting and do not put a location, stating: “The following were present on the day of recording”. If there is a large number of copies say “multiple copies”.

When you have completed your final draft give • Memorials Recorders, for inclusion in their list of Gifts given in Memory, for each gift the name(s) of the dedicatee(s), with their date(s) of death and the relevant object number. • Group Leader/Compiler  a list of all names in the Section with their relevant object numbers (noting any agreed exclusions)  a list of all artists, craftsmen etc with their trade and relevant object number  copies of any letters or emails you have received from experts for inclusion in the Record, omitting personal details Agree with the Group Leader who is to complete and send off any relevant information forms. The forms are listed in this Handbook and can be downloaded from the NADFAS website.

SECTION CHECKLIST

Dedicated numbers 600-604 used correctly County Record Office list in 600 is clean and legible References given for any information not on the object

RESEARCH Library Recorders are usually responsible for passing on information that may be of help to other Recorders, for instance, giving them details of a relevant faculty. They may additionally wish to search documents such as PCC (Parochial Church Council) minutes and make a History File (see General Information in this Handbook) of material to pass on to other Recorders. If not, another Recorder should be assigned to do this.

March 2014 29 Library

LIBRARY (600-699)

LOCATING ORIGINAL ARCHIVAL MATERIAL FOR RECORDING IN THE LIBRARY SECTION,

600A Documents held at County Record Offices The church will archive its old files to a local Public Record Office. Over time diocesan boundaries have changed and old records may have been archived in one or more different Record Offices, so you may have to check more than one. Most will send you their list of documents held as an email attachment which can be incorporated directly into the record. You may find that there are things you want to examine, for which you will need to go in person. The first time you visit a Record Office you will usually need to get a reader’s card for which you will need photo ID.

600B Documents held by the Diocesan Registrar (Give address) Faculties and Archdeacon’s certificates are drawn up by the Diocesan Registrar, a Solicitor who deals with legal matters for the diocese, and keeps copies of Faculties granted and associated correspondence. In some cases the Registry operates from the Diocesan Office. Some Registries also have a Faculty Book listing Faculties and Archdeacon’s Certificates granted as well as anything to do with the Church Court. Locate the Diocesan Registrar by checking www.diocesanregistry.co.uk If you get in touch you can find out what files are still in the Registry office and where any older files have been archived. A list of Faculties and Archdeacon’s certificates from this source should be complete and is a useful addition to those found from other sources. To see the Faculty records, you will usually need to go in person, by appointment, to the solicitor’s office or Diocesan office. From these you can list the Faculties granted to the church with the dates and a brief résumé of the subject matter. Some solicitors will do it for you, but check whether there is a charge! Where there is an overlap, in that you have found the same faculties in different places, you can just give the date and a cross reference to one of the other lists.

601 Registers in church keeping The current Baptism, Marriage and Burial Registers for the church will either be in the safe, or the incumbent or churchwarden will have them. Earlier ones will be held with other church archives. There will always be two copies of the current marriage register. Register of Services – all services are listed, sometimes including dates of dedication of new or restored furnishings.

602/603 Documents in church keeping Faculties and Terriers are usually in the possession of the incumbent or churchwarden. Ask if you can see the PCC Minutes and Accounts and list the years held. You may have to search for non-current paperwork and other documents, including the Church Log Book (a sort of inventory, listing additions, repairs etc) and recent Quinquennial Reports made by the Diocesan Architect. These documents are often sources of information for other sections. An inspection of these could produce useful information for the History File (see General Information).

30 March 2014 WINDOWS (700-799)

WHAT TO INCLUDE All glazed windows including those in the clerestory, porch, tower and vestry, whether stained, painted or of plain glass. This includes War Memorial windows (which should also be noted in the Memorials Section). All memorial windows should be listed under ‘Items given in Memory’ at the end of the Memorials Section, quoting the name(s) and the number where they are fully described. Windows Any memorial or dedication tablet or plaque relating to a window should be fully recorded with the window.

WHAT TO EXCLUDE Glazed doors (done in Woodwork), glass doors (Miscellaneous), glazed screens. Unglazed openings and sound apertures in the tower, which are usually fitted with louvres, go in Stonework. Saddle or tie bars should only be mentioned if they are damaged or missing.

BEFORE YOU RECORD These Section notes should be used in conjunction with Sample Pages, General Information for Recorders (in this Handbook) which includes Recording an Object in the 1-10 format; together with the books Inside Churches and Recording a Church: an illustrated glossary. It is essential to take a pair of binoculars when recording windows. Useful Books (see Bibliography for details) Hicks C, Discovering Stained Glass Shire Publications revised in 1996 Hall J, Hall’s Dictionary of Subjects and Symbols in Art (essential for identifying Biblical scenes) Cruden A, A Complete Concordance to the Old and New Testaments Lutterworth Press or James Clarke & Co Ltd 2002 (essential for identifying Biblical texts) Little J, Stained Glass Marks & Monograms 2002 ed. Goedicke A, & Washbourn M, available from NADFAS House (see Publications on Church Recording page of NADFAS website). Also see General & Architecture books as well as www.stainedglassrecords.org.uk lists stained glass windows and their makers in nearly 4000 churches in the south and east of England www.nadfas.org.uk/what-we-do/church-recording/stained-glass for Powells of Whitefriars windows www.yorkglazierstrust.org.uk for a useful glossary of stained glass terms Supplements available on the NADFAS website Notes and Queries 2011 & 2012 Useful Addresses and Websites Redundant Stained Glass Windows

PHOTOGRAPHY Before recording each stained glass window, arrange for a photograph to be taken of the complete window and of specified details e.g. individual lights, designer’s or maker’s mark (if any), iconographic details, text etc. A good photograph will reduce the amount of written description; but what is not clearly visible in the photo will need describing in detail. Having photographs for reference will aid research. It is helpful to take working photographs yourself. The stonework shows up well using flash. For a plain glass window, only one photograph will be needed. If there are a number of identical plain glass windows, one photograph will suffice.

March 2014 31 WINDOWS (700-799)

NUMBERING

Windows 700 is reserved for the East (liturgical east) window. If there is no East window, please state and begin at 701. On a plan of the church, indicate the position of the windows by numbering them clockwise starting at the east window of the chancel. If there is a clerestory, show this on the plan and continue to number in the 700 series clockwise starting at the east end. (See plan of Windows in Sample Pages.)

RECORDING A WINDOW Complete the title line as in Sample Pages or General Information in this Handbook. Complete as many as possible of the ten pieces of information requested in the 1-10 Format, beginning with a description at 1. Some windows of lesser importance or with little information to supply may be recorded without using the 1-10 format, but any information given should be set out in the same order eg description followed by dimensions. See Sample Pages for examples. The notes below give additional points to take into account for this Section.

7__ WINDOW OF 3 LIGHTS AND 9 TRACERY LIGHTS Phs (Position in church) Draw an outline of the window on plain paper. A drawing/ diagram helps the reader to follow the description. Number the tracery lights and main lights (1), (2) etc. Brackets are used in order to differentiate the numbers from the 1-10 format numbers. Start at the top and group together as appropriate for describing logically. Sometimes it is more logical to number as shown in this drawing. Windows vary a great deal and tracery lights will not always need to be numbered in the same manner. Never divide a light up by the saddle bars. Drawings are not necessary for plain windows, lancet windows or single light windows with no tracery.

1 STONEWORK (around the window) NB. If there is an elaborate structure around the window, it should be recorded in the Stonework Section with the window’s reference number given in brackets. Using your reference material, work out the type of tracery. Describe the arch and the rere (or rear) arch which is the arch on the inside spanning the opening. Describe the reveals, splays and sills (if any). See drawing at the end of this Section. Be aware that the date of the stonework and the date when the stained glass was inserted may not be the same. TRACERY LIGHTS Describe the shape first then any common features in the glass eg borders and backgrounds. Start at (1) and group together as appropriate. Refer to the light by putting the number in brackets. An easy way to describe tracery lights of a difficult shape is to say ‘shape as drawn’ as done in Sample Pages. MAIN LIGHTS First describe the shape of the lights eg ‘cinquefoil-headed’ then describe common features first, the shape of the head of each light, borders, architectural canopies (framework), backgrounds etc. If a narrative window, state subject and give a general description before detailing each light by its number given in brackets. (See Sample Pages). Many windows will have scrolls with Biblical texts on them. Look up any text in the window as it can help to identify the scene (see Cruden’s Concordance).

32 March 2014 WINDOWS (700-799)

Record the text carefully describing the style, colour and type of lettering. If the quote is inaccurate put (sic) after the text. If the Biblical reference is given on the window, record this here. If you have supplied the reference make this clear. A translation should follow any text quoted which is not in English. If there is a memorial inscription or dedication on the

window, say so giving position and description, but quoting text in 9. (See Sample Pages). Windows If there is a memorial or dedication tablet or plaque relating to the window, describe the tablet here in 1 after the description of the window. State its position. Describe the style and type of lettering but quote the inscription in 9. Identify figures if possible but do not guess. If it is unclear whether the figure is male or female, just use the term ‘figure’. Heraldry must be blazoned and identified (see Heraldry Supplement and General Information). Makers’ marks or signatures should be carefully noted – position, style of lettering etc and a close-up photograph or a drawing should be provided. At the end of the description, note any damage or poor condition of glass, lead, stonework etc.

2 Materials used in the window/plaque eg stained and painted glass, lead.

3 Do not assume that any date on the window is also the date of its insertion or that the stonework and window are the same age. Accurate information should come from your research.

4 State what you have measured eg glazing. State ‘inaccessible’ if impossible to measure.

5-6 It is good practice to endeavour to discover the maker/designer of stained glass windows.

7-10 As format.

When you have completed your final draft give • Memorials Recorders, for inclusion in their list of Gifts given in Memory, for each gift the name(s) of the dedicatee(s), with their date(s) of death and the relevant object number. • Group Leader/Compiler  a list of all names in the Section with their relevant object numbers (noting any agreed exclusions)  a list of all artists, craftsmen etc with their trade and relevant object number  copies of any letters or emails you have received from experts for inclusion in the Record, omitting personal details Check that you have all the photographs you need and make final copies of your outline drawings, which can be scanned and reduced if necessary. Agree with your Group Leader who is to complete and send off off any relevant information forms. The forms are listed in this Handbook and can be downloaded from the NADFAS website.

March 2014 33 WINDOWS (700-799)

SECTION CHECKLIST Windows Numbered plan showing position of windows Check the inscriptions in the final typed copy against the objects to ensure accuracy 700 is a dedicated number for the East window Description of stonework first at 1. When elaborate and recorded under Stonework, the Stonework object number quoted in brackets eg (See 206) Diagram of each stained glass window suitable for reduction in final copy Lights numbered with brackets around numbers Title of subject as heading for description of each light Makers identified with references Dedicatory and memorial inscriptions only at 9. Quotations and other texts at 1 Translations of foreign language inscriptions and texts including Latin and Greek, and of roman numerals to arabic numbers References given for any information not on the object Heraldry is blazoned and presented as requested in General Information

Drawing identifying some of the different parts of a window and the stone surround

34 March 2014 MISCELLANEOUS (800-899)

WHAT TO INCLUDE Ceramics, clocks, electronic organs (and their benches or stools), fire extinguishers, flooring including metal heating grilles, glass doors and screens, glassware including glass altar cruets with no precious metal parts, harmoniums (and their benches or stools), heating, lighting, mirrors, mosaics (both wall and floor), other musical instruments (but not bells), pianos (and their benches or stools), pipe organs (and their benches or stools), plaster or plastic statues, figurines and models, sound and video equipment, tiles (both wall and floor), turret clocks including tune barrels and carillons. Brief details only of children’s corner equipment, furniture not covered in any other section, notice boards, the contents of maintenance, cleaning and flower arranging areas, and of the kitchen and cloakroom/WC. Anything else not covered by any other section. Any memorial or dedication tablet or plaque relating to an object in this section but not part of it must be recorded with the object. WHAT TO EXCLUDE Chandeliers, pulpit lights and any of the above when it is supplementary to an Miscellaneous object in another section. Check that furniture has not been recorded already in the Woodwork Section. Do not record anything that does not belong to the church. BEFORE YOU RECORD These Section notes should be used in conjunction with Sample Pages, General Information for Recorders (in this Handbook) which includes Recording an Object in the 1-10 format; together with the books Inside Churches and Recording a Church: an illustrated glossary. Useful Books (see Bibliography for details) Gill B, Introduction to the Recording of Church Organs (details from NADFAS House) McKay C, Turret Clock Keeper’s Handbook Stopford J, Recording Medieval Floor Tiles CBA Practical Handbook 1 The Organ, Church Clocks, Medieval Tiles, Church Tiles of the 19th Century and 20th Century Tiles, all Shire Publications Supplements available on the NADFAS website Recording Church Organs Checklist for Recording a Pipe Organ Recording a Turret Clock PHOTOGRAPHS AND DRAWINGS Liaise with your Photographer and Group Leader to decide which objects should be photographed or illustrated. Ensure that special details are not overlooked. Colour photos are essential for tiles and mosaics. NUMBERING 800 is reserved for the organ(s), both pipe and electronic. If there is no organ, state this at 800. Do not use this number for any other object. If there is more than one organ they should be numbered 800A, 800B etc with pipe organs before electronic organs. Organ benches are recorded with the organ. 801 When numbering the rest of the objects found for Miscellaneous, it is not necessary to work clockwise round the church if another sequence appears more logical. Establish your numbering order and agree the list with your Group Leader and Photographer. Your Group Leader will check all the lists to make sure that nothing appears as an object on more than one list. RECORDING AN OBJECT Complete the title line as shown in Sample Pages or General Information in this Handbook. Complete as many as possible of the ten pieces of information requested in the 1-10 Format, beginning with a description at 1. Some objects of lesser importance or with little information to supply may be recorded without using the 1-10 format, but any information given should be set out in the same order eg description followed by dimensions. See Sample Pages for examples. The notes below give additional points to take into account for this Section.

March 2014 35 MISCELLANEOUS (800-899)

Pipe organ Unless you are an organist, you will need expert help (see List of Expert Advisers). Look at the supplements and books listed above. Enlist the help of the organist and/or whoever maintains the organ to complete the checklist for you. There may be a specification you can use. Include the case, pipes, console, lights, the bench and any plaques relating to a restoration or gift relating to the organ. You may find information in faculties or online at the National Pipe Organ Register (NPOR) website, but this may be out of date or incorrect so check with care. The organ builder’s website may also help. If there is a maker’s, repairer’s or tuner’s label on the console, record it in 1. Note the sources of oral or written help in 10. Miscellaneous Electronic organs Record only the make and model number for the technical details, but there may be interesting information about the history or maker to add. Turret clock Use the Turret Clock forms and books noted above and consult the tower captain or whoever checks or winds the clock. The DAC clocks adviser or the person who maintains it may also have useful information. The clock movement case is likely to be in the tower, lower than the bells and perhaps in the ringing chamber so should be reasonably accessible. Should this not be the case, enlist the help of one of the above to complete the forms. The turret clock may include a tune barrel or carillon. Remember to record the external dials and their location. Floors The different areas of flooring can often be shown most clearly on a plan of the church which should be inserted in the Record at this point. The flooring number is then sub-divided into A, B, C etc and the flooring described by area. Research patterned, medieval or Victorian tiling and add drawings or photos of the designs. All carpets and mats are recorded in Textiles and integral wooden plinths under benches in Woodwork. Where a fitted carpet is laid, a cross reference should be given to Textiles eg Chancel laid with fitted carpet (see 4—) Do not take up carpets without prior agreement. Many objects on the list will not need the 1-10 treatment but brief details as indicated by common sense and the Sample Pages.

When you have completed your final draft give • Memorials Recorders, for inclusion in their list of Gifts given in Memory, for each gift the name(s) of the dedicatee(s), with their date(s) of death and the relevant object number • Group Leader/Compiler  a list of all names in the Section with their relevant object numbers (noting any agreed exclusions)  a list of all artists, craftsmen etc with their trade and relevant object number  copies of any letters or emails you have received from experts for inclusion in the Record, omitting personal details Agree with your Group Leader who is to complete and send off any relevant information forms. The forms are listed in this Handbook and can be downloaded from the NADFAS website.

SECTION CHECKLIST

Help given on site with recording the organ and turret clock acknowledged at 10 Dedicated number 800 used correctly References given for any information not on object

36 March 2014 PHOTOGRAPHY INFORMATION

GENERAL Photographers should always work in liaison with the Group Leader and Compiler in the production of a Church Record.

Photographs should be taken digitally.

Before you start familiarize yourself with the relevant material in the Supplements listed below, and if you find anything complicated or confusing please ask for help. The following person is willing to answer email queries. David Medcalf [email protected]

Supplements (available on the NADFAS website or from your Group Leader)

1 Taking good photos in a Church – solving photography problems 2 Copyright Assignment Form 3 Suggested Workflow for Photographers & Compilers 4 The Technology of a Digital Camera 5 Changing File Formats and File Sizes 6 Supplying the TIFF Photographs to Historic England and other bodies in Digital form 7 Compiling the complete Record and delivery in printed and digital forms A. The Text B. The Photographs C. Bringing Text and Photographs together D. PDF and PDF/A E. Printing of Records F. Production of Digital Records 8 Software and help for burning CDs 9 The Church’s copy of the Record

Copyright Photographers are asked to assign copyright in all photographs used in the final copy of the Church Record to NADFAS.

Security and Safety (see also Health & Safety and Insurance in the Introduction) The Photographer is particularly advised  to ask the Group Leader for advice about any potentially dangerous areas within the Church, and observe all recommended safety precautions.  to check with the Churchwarden that you have permission to use the Church’s power supply, and that the power points will not overheat if you connect your lights to them.  to be careful about cables when using artificial light. Even if you manage not to trip over them yourself, a visitor to the Church could do so and make a claim.  to warn everyone about cables and hot lamps.  not to use a ladder or enter a bell chamber unless there is a helper with you.  not to take moveable objects outside the Church to photograph them – they would not then be covered by NADFAS insurance.

Photographer’s responsibilities a) To produce a set of photographs to supplement the written descriptions of objects in the Record. b) To provide archival images (TIFF files) in the format required by the Historic England, formerly English Heritage Archive, by the ChurchCare Library and by any other body in England or by any equivalent bodies in Scotland, Wales, Northern Ireland and the Isle of Man. c) To provide sets of the photographs in JPEG format and to assist with the production of PDF/A digital copies of the Record to fulfil the requirements of Historic England, the

May 2015 37

PHOTOGRAPHY INFORMATION

ChurchCare Library and the V & A, or equivalent bodies in Scotland, Wales, Northern Ireland and the Isle of Man. d) To liaise with your Group Leader and Compiler in creating on a computer photo pages of the photographs for the Record with headings and margins conforming to the text of the Record. Alternatively, to assist in the embedding of the photographs in the text. Or, if the Group prefers, to produce photographic prints on photographic paper for mounting on 100gm plain white pages, with headings and margins conforming to the text, using acid free tabs obtainable from the Volunteering Department at NADFAS House. e) To provide working photographs for Recorders, if required, to assist them in describing objects.

Objects to be photographed and their priority Please consult with the Group Leader (GL) as to what should be photographed and in what order. Normally priority is usually given to windows and other objects which can better be described using photographs. It is helpful to provide working photos for Recorders at an early stage and for this purpose ink jet printers can be used.

Photographs  The final photographs required for the Record, the size that they are to be and whether or not they are embedded in the text, will be decided by the GL in consultation with the Recorders and Photographer.

 The printing of photographs in a printed copy of the Record - can be made in one of two ways: o by colour laser printing. Inkjet printing is not acceptable. (see the Photography Supplements for more details); or o for the Church’s copy only, laboratory produced prints on light-sensitive photographic paper.

Presentation of CDs and memory sticks for archiving: CDs and memory sticks prepared as set out below for the V & A, Historic England and the ChurchCare Library must be sent via the Group Leader to the Volunteering Department at NADFAS House. For churches outside England, check with your CRAR.

USING A DIGITAL CAMERA OR A SCANNER Image size: The camera should capture a minimum of 5 million pixels (megapixels). (see Photography Supplement 4). A scanner should capture a high resolution picture (a minimum of 250 pixels per inch and preferably 300ppi).

Size and format of photographs: There are no hard rules about the size and shape of photographs in a Record. A typical size is around 6 x 4 or 5 x 3.75 inches, though sometimes larger sizes are used (for example for interiors), or smaller sizes for narrow objects, marks or details. They should be a clear, true, archival picture of the subject with details such as heraldry and inscriptions clearly legible.

Image formats:

 The original images may be taken in JPEG, TIFF or RAW format (see Photography Supplement 4). If using JPEG format, the setting must be 5 megapixels or more, with minimum compression.  If images are created in JPEG format they must be converted into TIFF format before any adjustments are made, so as to avoid any loss of data if and when adjustments are made (see Photography Supplement 5 for batch conversion of files).

38 May 2015

PHOTOGRAPHY INFORMATION

Temporary storage of images: During the preparation of the Record, images will normally be held on the hard disc of a PC or MAC, and backup copies should be made regularly. During this time inkjet copies may be made for the use of Recorders, but note that inkjet prints must not be used in the final Record.

Adjustments: must be as few as possible to limit loss of data and integrity of the image. Careful composition should avoid the need to crop substantially (unless the object photographed is long and thin).

Adjustments, other than cropping and rotation should be strictly limited to what is necessary to make the photograph acceptable for the purposes of the Record (e.g. correction of colour cast, to make detail in shadow areas visible, or to make texts to memorials readable), and only then if this can be done without damaging the image’s authenticity. The resulting picture should be an honest representation of the article photographed.

End Product a) The images either on photo pages, for inclusion with text within the Record, or embedded in the text. (possibly, photographic prints mounted on photograph pages for the Church’s Record). b) A single archival gold CD of either the complete Record in PDF/A format (text and photographs) or the complete text of the Record in PDF/A format plus all the photographs in JPEG format in Section folders (see Photography Supplement 7) for the V & A and any other body to be supplied with a similar CD. c) A memory stick for each of Historic England and the ChurchCare Library containing - (i) the complete Record in PDF/A format, (ii) all the photographs in JPEG format and (iii) all the photograph files in TIFF 10-20MB format. In each case the photograph files must be named with the number in the text of the object represented (see Photography Supplement 6). With each memory stick should be a printed list of its contents (see Photography Supplement 7).

Retaining information  Photographers must retain the digital files of the archival TIFF 10-20MB images securely for at least five years and make them available to NADFAS if asked.

 If Photographers wish to use any of these images for publication, written permission must first be sought from both the Incumbent of the Church and from the Volunteering Department, NADFAS House, 8 Guilford Street, London WC1N 1DA. [email protected]

May 2015 39 LIST OF SUPPLEMENTS AND OTHER INFORMATION available on the NADFAS Website

General for all Sections Guidelines for Heraldry Useful Addresses and Websites List of Expert Advisers List of Heraldry Advisers

Memorials Latin on Brasses

Metalwork Silver Makers’ Marks Brass Chandeliers Bell Forms, to go in Record (Word document)

Stonework Recording Mass Dials

Textiles Measuring Textiles Recording Altar Linen and Vestments Army Standards, Guidons and Colours Conservation of Books and Textiles within Churches

Library Recording Books Conservation of Books and Textiles within Churches

Windows Redundant Stained Glass Windows

Miscellaneous Recording Church Organs Checklist for Recording a Pipe Organ Recording a Turret Clock

Group Leader/Compiler Record Checklist Authorised Frontispiece (Word document) and Copyright page Notices to laminate for church display during and after recording

Photographer/Compiler Photography Supplements 1-9 1 Taking good photos in a Church – solving photography problems 2 Copyright Assignment Form 3 Suggested Workflow for Photographers & Compilers 4 The Technology of a Digital Camera 5 Changing File Formats and File Sizes 6 Supplying the TIFF Photographs to Historic England and other bodies in Digital form 7 Compiling the complete Record and production in printed and digital forms A. The Text B. The Photographs C. Bringing Text and Photographs together D. PDF and PDF/A E. Printing of Records F. Production of Digital Records 8 Software and help for burning CDs 9 The Church’s copy of the Record

40 May 2015 ROMAN NUMERALS

1 I 1600 MDC 2 II 1700 MDCC 3 III 1800 MDCCC 4 IV, IIII 1900 MCM 5 V 2000 MM 6 VI If printed in lower case letters the last I is 7 VII sometime shown as j to affirm that it is the last 8 VIII numeral of a number, ie iij for 3 and viij for 8. 9 IX 10 X 11 XI In dates Ordinals are shown thus: 12 XII Iº primo (die) 1st 13 XIII IIº secundo 2nd 14 XIV IIIº tertio 3rd 15 XV IVº quarto 4th 16 XVI Vº quinto etc 5th 17 XVII Cº centesimo 100th 18 XVIII 19 XIX 20 XX NB for 500 and for 1,000 were derived from 21 XXI D M the ancient practice of writing I before a 30 XXX reversed C for 500 and I between two Cs (like 31 XXXI brackets) for 1,000. 40 XL, XXXX C 500 50 L I C 1000 60 LX CI CC 1500 70 LXX CI CCC 1600 80 LXXX CI 90 XC 100 C Roman Numerals 200 CC 300 CCC 400 CD, CCCC 500 D 600 DC 700 DCC 800 DCCC 900 CM 1000 M 1100 MC 1200 MCC 1300 MCCC 1400 MCD, MCCCC 1500 MD

March 2014 41 COMPILATION AND PRODUCTION OF THE RECORD

The Group Leader, Compiler and Photographer are responsible for producing the final Record. All Records, whether printed or in digital form should be set out according to the authorised format to ensure consistency throughout and for ease of binding the finished document. The formatting requirements (i.e. paper weight, margins, fonts, headers and footers) are given in Guidelines for the Layout of a Record in this Handbook. Reference should also be made to Sample Pages and the Photography Supplements.

When using a computer to enter your notes, you may find it helpful to use Church Recorders’ Styleguide, a template that helps with the format. It can be installed on a computer that has Microsoft Word or on an Apple MAC which has Word for Mac. The programme and instructions for use can be obtained from the Volunteering Department at NADFAS House.

COMPILATION the Introduction pages are inserted in the following order:  Authorised Frontispiece this can be downloaded in Word format from the NADFAS website. The name of the Church must be inserted between the NADFAS frame and Record statement. The frame and statement must not be altered.  Copyright page also downloaded from the website.  Introduction page 1 the header for this page must include the full name of Church, town/village, county, postcode and Diocese. The name of the Incumbent and the Group(s) and both the starting and completion date are included in a sentence below the header. Then on a new line insert the OS Grid reference. Include a photograph or drawing of the Church exterior together with a synopsis of its history. At the bottom of the page or, if there is not room here, at the start of the fourth page, followed by other acknowledgements of help provided, give the name of the sponsoring NADFAS Society or Societies. Do not allow the history to continue onto the next page.  Introduction page 2 two photographs of the Church's interior, one west/east, and one east/west. In some cases 2 larger photographs on 2 pages might be better.  Introduction page 3 a plan of the Church. The Group Leader should have a copy or you may make your own. The east / liturgical east end should be shown at the top of the page. Label the plan with names of parts of the Church as used by the congregation. These names will be used for the location of objects in the title line and must be consistent throughout the Record.  Introduction page 4 should clearly explain the Sections and the Numbering as well as listing the names of the Recorders. See Sample Pages for the correct wording of this information. Include a list of acknowledgements for help given.  Include a statement that the TIFF photograph files are held at Historic England National Archive, Swindon, or equivalent archives in the Isle of Man, Wales, Scotland and Northern Ireland.  Then list the abbreviations and references used in your Record. For each reference used put the full details here and the abbreviation used in your text, which should be consistent throughout the Record. For books put author, title, publisher and date in that order.

Subsequent pages should contain two separate lists, in the following order  Summary of Names  Summary of Artists and Manufacturers Ensure that in the Summary of Names heading, groups of names excluded from the table e.g. Lists of Incumbents, Rolls of Honour, or kneelers, are stated with their object numbers. If there are many names in the Summary of Artists and Manufacturers table, it may be clearer to group them by skill or trade: e.g. Silversmiths John Keith 100

Check the following for all Sections  Each Section should be written as a single, paginated Word file.

42 May 2015 COMPILATION AND PRODUCTION OF THE RECORD

 Wherever possible, plans, reports and forms relating to a Section should be inserted into the Word file.  All pages must be headed with the name of the Church, town/village and county and the name of the Section.  A condition statement must be at the beginning of each section.  Title line is completed in bold as in General Information and the Section notes.  Drawings and the numbering of photographs must be in black.  The presence of a photograph, or drawing is indicated by putting Ph or Dr after the object title.  Location, main in CAPS, secondary in lower case e.g. CHANCEL, N wall.  Format numbers put a hyphen where there is no information, condensed if necessary (e.g. 5-10).  Ensure that the blazoning of heraldry goes in the description at 1. See General Information for layout.  Check accuracy of cross references to another object.  Typing of “long s” (do not type f for ∫ ).  Only memorial or dedicatory inscriptions are recorded at 9.  Check correct use and listing of references.  Ensure that photographs are numbered correctly.  Letters from experts copied onto headed pages with the correct margins and inserted at the end of the relevant Section, without personal details.

Check the following requirements for specific Sections

Memorials  A numbered floor plan is required.  Last number is a list of Gifts given in Memory recorded in other Sections.  Names and dates of death of all commemorated centrally within, or immediately below the title line.  Heraldry, blazon indented and described correctly.  Maker identification is made clear (on the memorial or with a reference).

Metalwork If it is decided to enlarge the hallmarks when they are scanned into the text, the following statement should be added at the head of the Section: All hallmarks are enlarged unless otherwise stated.  Handbells have the penultimate number, bells have the last number.  Ordering (precious metals first, then pewter, then brass and other base metals).  Marks on precious metals and pewter are correctly recorded and attributed, references given.  Bell forms are included at the end of the Section where appropriate.

Stonework  Woodwork numbers of doors quoted when describing doorways.  Font cover recorded with a stone font.

Woodwork  Plan of the seating is required unless very simple.  Stonework number of doorways quoted when describing doors.  Roofs given last number.

May 2015 43 COMPILATION AND PRODUCTION OF THE RECORD

Textiles Statement at the beginning of the Section: All objects in this Section are 20th or 21st century and the condition is satisfactory, unless otherwise stated.  400 reserved for frontals and superfrontals.  Posts, poles and rails are recorded with their hangings.

Paintings, etc. Note full title of this Section - do not omit the etc. 500 reserved for Royal Arms 501 reserved for Hatchments  Text on list of incumbents, peal boards, Decalogue boards etc. all quoted at 1 not at 9.  Notices referring to a nearby object in another section recorded with that object, not here.  Reproductions of famous paintings do not have the original artist’s name at 5.

Library 600-604 are reserved numbers - see Section notes for details. Check that the list at 600 (items at CRO) is legible and each page has correct Record header.

Windows A numbered plan is required. A diagram of most windows is required with lights numbered in brackets. 700 reserved for east window.  Light numbers are bracketed in both diagrams and text.  Subject of window is given as a sub-heading.  Maker identification is made clear by describing mark and/or giving reference.  Bible texts not put at 9 unless part of memorial inscription.  Scenes and figures correctly identified.

Miscellaneous 800 is reserved for organs. Collective titles such as Heating, Lighting, Cleaning materials etc. can be used. A floor plan may be needed for flooring.

Photographs  Printed or photocopied pages must be colour laser copies, not inkjet.  Mounted photographic prints are no longer required in any of the copies of a Record but you may choose to use them for the Church’s copy if you wish. In this case they must be mounted on 100g paper using archival Lineco mounts, (available from the Volunteering Department at NADFAS), headed as on text pages and inset at least 3.5 cm on left hand side and at least 1 cm from the right hand side.  Photographs may be trimmed as necessary. They must be on the recto page (the right hand page of an open book) only and be clearly labelled in black with the object numbers.  As far as possible, the photo pages should be inserted into any printed copy of the Record immediately after the text pages describing the objects which they illustrate.

PRODUCTION AND DISTRIBUTION

Information about copies of the Record and their distribution is given in the section Distribution of Completed Records in this Handbook.

It is recommended that the Church’s copy of text and photographs should be bound so that pages are not removable. Extra blank pages should be included at the end for any future additions to be

44 May 2015 COMPILATION AND PRODUCTION OF THE RECORD made by the Church. If a loose-leaf binder is used, it is recommended that the pages of text and photographs are inserted into ready-punched clear plastic pockets. The Group Leader should present the Church’s copy to the incumbent / minister and churchwardens, preferably during a service.

For information on producing a single archival CDs of the whole Record to the standard required by the V&A see Photography Supplement 7 Part F. The CD should contain either a single PDF/A file of the complete Record, i.e. text and photo pages or a single PDF/A file of the text plus all the photographs in JPEG format in Section folders. PDF is acceptable in some circumstances.

For information on recording the whole Record and the TIFF 10-20MB photographs on a memory stick (sometimes known as a flash drive) for Historic England and the ChurchCare Library see Photography Supplements 6 & 7 Part F.

Check all CDs and memory sticks to ensure they are readable and contain all the required information before they are delivered to NADFAS House.

Record components to be delivered to NADFAS House (England only, for other Countries consult the CRAR):  An archival CD for the V & A Library  A memory stick for Historic England with a printed list of contents  A memory stick for the ChurchCare Library with a printed list of contents

must be delivered IN ONE PACKAGE promptly to the Volunteering Department at NADFAS House, which will send your receipt and the certificate for your Society’s notice board.

But there are transitional arrangements for Records in progress in 2015. See Photography Supplements 6 & 7. Comments may be sent to the Group Leader after the Record has been audited (checked by an experienced Recorder).

Retention of Record: Groups must retain the Record folders and files supplied digitally to Historic England and the ChurchCare Library until confirmation has been received from NADFAS House that the Record has been downloaded successfully onto their computer systems.

The local County Archive should be consulted about the form in which its copy should be delivered. Obtain a receipt for this and notify the Archdeacon. See Distribution of Completed Records in this Handbook for special requirements relating to the deposit of this copy.

Digital copies of the Record Churches and County Archives might ask for a digital copy of the Record. Because of the security and copyright implications, the following rules apply:  It should be supplied as a “read only” CD only  The Incumbent and Churchwardens (or their equivalent in other churches), should ask in writing and should confirm in writing that: o the supplying and use of the CD is at the Church’s risk, not NADFAS’; o the Record’s copyright is retained by NADFAS and, in particular, no commercial use is permitted without NADFAS’ permission.  Should a County Archive wish to upload the Record onto its digital archive, a digital copy which is not “read only” may be supplied if written agreement has be received that access to the Record will be protected and limited so as to safeguard the security of the Church’s property.

June 2016 45 GUIDELINES FOR THE LAYOUT OF A RECORD

These are guidelines for the layout of a Church Record. See Sample Pages for further guidance.

 Margins The left margin of all pages must be at least 3.5cm wide, to allow for the binding of some copies. The right margin must be at least 1 cm. Both margins need to be consistent throughout the Record, including the pages with photographs.  The font should be either Arial 11 or Times New Roman 12.  If you use tabs they are 0.75cm, 1.25cm, centre tab 8cm.  Header The header on every page, centrally placed, in bold capitals, consists of the dedication of the Church, village/town and county. If the dedication will not fit on one line then two may be used. Include the Section name near the RH. margin.  Blazoning of Heraldry is always indented about 3cm from the left margin and preceded by the word ‘Blazon’ which is put at the left margin.  If there are abbreviations or contractions, or the ‘long s’ to insert, it may be necessary to leave a space so that contraction marks or other symbols can be added by hand using black ink, after the final typing. DO NOT TYPE ‘f’ or any other symbol with a crossbar for the ‘long s’. The correct symbol is ∫.  Reserved numbers Some Sections have reserved numbers (see CR Handbook, Section notes). If there are no items to record against these numbers a statement to that effect should appear against the item number e.g. 700 No East Window.

All the pages of a printed copy of the Record should be printed on the same weight of plain white paper. This should be within the range 100gm to 130gm, preferably of a quality suited to the printing of pictures, and on one side only. A Record containing mounted photographic prints should all be on 100gm plain white paper.

Photographs in printed Records will be either on separate pages inserted as near as practicable to the text to which they relate or embedded in the text. The exterior view of the Church is embedded in the first page of the Introduction. Each photograph is identified by printing in black the number of the object (as it is in the text) on the photograph page adjacent to the photograph. Where there is a photograph, or a drawing on another page, this should be indicated by Ph or Dr in the title line.

Diagrams of windows, identifying the lights described in the text, copies of smokings or digital photographs of hallmarks and descriptive drawings should be inserted into the text where appropriate, but must be kept within the margins.

Although there will have to be a certain amount of flexibility in editing and producing a Record, following these guidelines as closely as possible helps to keep the appearance of our Records consistent. This aids a researcher who may need to refer to more than one Record.

Refer to the General Information for Recorders and the Section notes in the Church Recorders Handbook for specific instructions for each section and for the numbering system.

46 May 2015 GUIDELINES FOR THE LAYOUT OF A RECORD

EXAMPLE

ONLY on the first page of the Introduction are the diocese and post code added eg ST ANNE, DOWNINGHAM, MERCIA MC1 1AB in the diocese of SOUTHWARK

Footer: page numbering is desirable for each Section eg Memorials page 1.

Section Heading: the Section heading appears at the right side in the header: eg

ST ANNE, DOWNINGHAM, MERCIA MEMORIALS

Where necessary two centred lines may be used for the church details.

A condition statement appears at the beginning of each section, eg: The condition of items in this Section appears to be satisfactory unless otherwise stated.

The position in the church is against the right margin – general place in capitals, then precise position in capitals and lower case, all in bold eg: 001 WALL TABLET Ph CHANCEL, S Wall

The text starts here, preferably use single spacing between lines, double spacing under the heading and triple between objects. The majority of the objects will be recorded using the 1-10 format (see below). The format number 1 should be in line with the third digit of the object number in the left margin. 1 Enter the description here 2 Enter the material here 3 Enter the date here 4 Enter the measurements here Measurements are always in centimetres (cm): height x width x depth = h. x w. x d. cm Always in that order, in lower case letters and always followed by full stops. This is because of the ambiguity with l. for length which is sometimes used in Textiles and for floor slabs. Care should be taken when typing up this particular measurement to leave a space between the abbreviation for length and the numeral eg l. 116cm. In the Metalwork section, the weight of silver, gold and pewter objects in grams (g) is recorded before the measurements. 5 Enter the artist, designer, craftsman etc here 6 Enter the manufacturer or retailer here 7 Enter a brief history of the item or donor or family 8 Enter the donor and date of presentation to the church 9 Enter the inscription here – only memorial inscription or dedication; other quotations and description of the type of lettering should go at 1 10 Sources of reference mentioned previously in the text are always put at 10 and labelled a) b) for Layout etc. They will have appeared in the text bracketed (ref a), (ref b) etc. When there is no Guidelines information for a number it is typed with a dash eg: 6 -. Where there is no information for consecutive format numbers, they are condensed thus: 4-6 - For objects which do not use format numbers 1-10 consult the Sample Pages for layout.

March 2014 47 RECORD CHECKLIST

Section Check Done Information forms Authorised NADFAS frontispiece used Authorised Copyright page used Introduction Title page: Dates of commencement & completion Incumbent’s name Diocese Name of sponsoring Society Other acknowledgements Plan of church Section numbering explained Numbering 1-10 explained Abbreviations & references used & consistent throughout Record Photographic negatives or TIFF files for the English Heritage Archive & equivalent bodies in rest of UK List of names in Record List of artists & manufacturers 001 Memorials Condition statement War Memorials Plan showing position of memorials Memorials to Seamen Portrait Memorials Ph (where applicable) Memorials with Names of deceased only + year of death in heading Southern Asia or/and Only memorial inscriptions at 9 China connections Sculptors’/makers’ names at 5-6 Translations of inscriptions, all Greek, Latin & roman numerals must be translated Heraldry in 1, correctly blazoned & indented References correctly entered List of ‘Gifts given in Memory’ as last number 100 Metalwork Condition statement Pewter in churches Gold, silver, silver plate, pewter (in this order) first Objects made by Faith ‘Smoke marks’ or close-up photographs of marks Craft Works for gold, silver & pewter Armour in churches No position for precious metals Maker identification & reference Weight for gold, silver & pewter Only dedicatory & memorial inscriptions at 9, other inscriptions and texts at 1 Bells as last number. Bell forms after bells Ph (where applicable) References correctly entered 200 Stonework Condition statement Font + cover + hoist (where applicable) Ph (where applicable) Doorways cross-referenced with doors in Woodwork Mass/scratch dials outside References correctly entered 300 Woodwork Condition statement Objects made by Faith Plan of benches (unless very simple) Craft Works Doors cross-referenced with doorways in Stonework

Record Checklist Roofs as last number Ph (where applicable) References correctly entered

48 March 2014 RECORD CHECKLIST

Section Check Done Information forms 400 Textiles Condition and date statement Army Standards 400 for frontals & superfrontals (dedicated) Guidons & Colours Sets of vestments clearly shown Measurements correctly taken Ph (where applicable) References correctly entered 500 Paintings etc Condition statement Objects made by Faith 500 for Royal Arms (dedicated) Craft Works 501 for Hatchments (dedicated) Paintings (if copies, original artist not given at 5-6) Heraldry in 1 correctly blazoned and indented Ph (where applicable) References correctly entered 600 Library Condition statement Clean, legible typed copy of County Record Office(s) details & correct heading added 600 CRO list (dedicated) 601 Registers in church keeping (dedicated) 602 Faculties & Archdeacon’s certificates in church keeping (dedicated) 603 Terriers & Inventories & other documents in church keeping (dedicated) 604 Pre 1851 Bibles & Prayer Books (dedicated) Ph (where applicable) References correctly entered 700 Windows Numbered Plan showing position of windows Kempe windows Condition statement Clayton & Bell windows 700 East window (dedicated) Collecting stained Description of Stonework first at 1 or glass artists’ marks cross-referenced to Stonework when elaborate Objects made by Faith Diagram of each stained glass window Craft Works Lights numbered & brackets around light numbers War Memorials (when it is a window) Title of subjects as heading for description of lights Makers identified & references given Dedicatory and memorial inscriptions only at 9, quotations and other texts at 1 Translations of inscriptions & texts. Greek, Latin & roman numerals must be translated Ph (where applicable) Heraldry in 1, correctly blazoned & indented References correctly entered 800 Miscellaneous Condition statement Copy pipe organ 800 Organs (pipe and electronic) (dedicated) section (800) to NPOR Turret clock recording Turret Clocks: External dials recorded form Ph (where applicable) Victorian heating/ References correctly entered lighting installations General Are page numbers used Objects made by Faith Headings, are they correct & complete including Craft Works photograph pages Photographs mounted using approved mounts 100g paper used throughout

March 2014 49 Record Checklist Record DISTRIBUTION OF COMPLETED RECORDS

This information is accurate at the date of writing but the version on the website should be checked for confirmation.

Recipient Requirements Binding?

Colour laserprint paper copy of text and photographs Preferably, (Photographic prints may be used in the Church’s copy only) sufficient to 1 Church (Additionally a digital copy could be provided if the conditions described prevent page above under Digital copies of the Record are complied with) removal

Copies 2,3 & 4 sent to NADFAS House (see following page for exceptions)

A PDF/A copy of the Record (text and photographs) or a PDF/A copy of the n/a 2 V&A Art Library text plus all the photographs in JPEG format in Section folders, in either case on 1 archival gold CD In England - A PDF/A copy of the Record plus the JPEG and TIFF files on 1 n/a 3* Church Authority memory stick. A printed list of the contents of the memory stick. Elsewhere – see 6 below In England - A PDF/A copy of the Record plus the JPEG and TIFF files on 1 n/a 4** Heritage Archive memory stick. A printed list of the contents of the memory stick. Elsewhere – see 6 below Colour laserprint paper copy of text and photographs 5*** CRO /diocese (Additionally, or instead, a digital copy could be provided see Digital copies As agreed of the Record above )

In Scotland, Northern Ireland & Wales, check with the CRAR what is As agreed 6**** Other Archives required(addresses for archives in Scotland, Northern Ireland & Wales given in the Useful Addresses and Websites Supplement)

Note: PDF/A is a standardised version of the Portable Document Format (PDF) specialised for the digital preservation of electronic documents. See Photography Supplement 7.

3 Church Authority* In England, the ChurchCare Library – a memory stick, send to the Volunteering Department at NADFAS House.

4 Heritage Archive Copy** In England, for Historic England a memory stick, send to the Volunteering Department at NADFAS House. Elsewhere the Heritage Archive copy should be sent to the appropriate Heritage Archive (see following page), the relevant addresses are given in the Useful Addresses and Websites Supplement. 5 CRO Copy*** Please choose a local County Record Office (or equivalent), The Record to be passed as agreed, to the CRO directly. ***For Anglican and RC churches in England this should be the one that houses the relevant Diocesan archives. In Scotland, the unbound Record is to be sent as appropriate to the General Trustees of the Church of Scotland, the Diocesan Archives for the Scottish Episcopal Church, or the Buildings Secretary of the RC Diocese. For other denominations in the UK, and for churches in Northern Ireland, establish if there is a need for such a copy to be made, and ask NADFAS to bind and forward where necessary.

6**** In some instances a printed Record must be accompanied by a full set of indexed archival gold CDs with TIFF files of the photographs and accompanying index sheet.

50 May 2015 DISTRIBUTION OF COMPLETED RECORDS

WHERE THE COPIES OF THE RECORDS GO

England (Copies 2, 3 & 4 sent via NADFAS House; others sent directly) 1 Church 2 V&A Art Library 3 ChurchCare Library 4 Historic England (formerly English Heritage Archive) 5 CRO

Isle of Man (Copies 2 & 3 sent via NADFAS House; others sent directly) 1 Church 2 V&A Art Library 3 ChurchCare Library 4 Manx National Heritage Library

Northern Ireland (Copy 2 sent via NADFAS House; others sent directly) 1 Church 2 V&A Art Library 3 NI church authority (where requested) 4 PRONI (Belfast) 5 Local County Archives 6 Monuments & Building Record, Belfast

Scotland (Copy 2 sent via NADFAS House; others sent directly) 1 Church 2 V&A Art Library 3 Scottish church authority 4 GLs should refer to their CRARs about depositing the photographic archives 5 Local County Archives 6 National Library of Scotland

Wales (Copies 2 & 3 sent via NADFAS House; others sent directly) 1 Church 2 V&A Art Library 3 ChurchCare Library (for Church in Wales only) 4 Royal Commission on Ancient & Historical Monuments of Wales 5 Local County Archives 6 National Library of Wales

May 2015 51 Completed Records Distribution of

DISTRIBUTION OF COMPLETED RECORDS

Deposit of Records at a County Record Office

The following notes are for the guidance of Group Leaders when passing the ‘Diocesan’ copy of an English Record for archiving in the County Record Office or equivalent (see* below) which normally stores Diocesan archive material. Please adapt as appropriate for non-English Records and non-Cof E churches. 1) It is hoped that the arrangements described below will shortly be universal, but formal agreement for public access on request is still being sought from the Dioceses of Guildford, Lichfield, Salisbury and St Albans. 2) It is now generally accepted by the Diocesan authorities that a copy of each NADFAS Church Record should be sent or taken directly to the relevant CRO, rather than to a Diocesan official (eg Archdeacon, DAC Chairman, etc). However, always please send a letter to the DAC Secretary to inform them that the Record has been completed and a copy lodged with the CRO; if it is possible, some DAC Secretaries appreciate a CD copy of the Record, particularly if the Diocesan Office is distant from the CRO. 3) Each CRO has its own forms which need completion when material is deposited with them. The following notes should help you to do this, and make the Record easy for the CRO to catalogue. It is best to identify NADFAS London as the formal depositor, since the addresses used by both GL and Society will change with personnel.

Description of Record: Follow the format ‘NADFAS Church Record of St Anne, Downingham, Mercia. Produced by Downingham DFAS Church Recorders 2013’ Depositor details: Please give NADFAS House, 8 Guilford Street, LONDON, WC1N 1DA, and sign it yourself as ‘Group Leader, Downingham DFAS Church Recorders.’ Public Access: (a) the Records are not to be kept on open shelves, but (b) are to be made available on request to members of the public who possess a valid reader’s ticket (see Diocesan exceptions in note 1) Terms of Deposit: For an indefinite period (or permanent loan), where the ownership remains with NADFAS.

* eg Borthwick Institute, York; Cathedral Archives, Canterbury.

52 March 2014 THE ROLE OF THE CHURCH RECORDERS GROUP LEADER

The Church Recorders Group Leader (GL) is responsible for • Managing the Church Recording Group. • Co-ordinating with the editor-Compiler and the Photographer in the production of the Record in a reasonable time. Role of • Liaising with the Society’s Committee and the Area Representative (CRAR). Group Leader Group • Maintaining good relations with the church authorities. The Group Leader is usually an ex officio member of the Society Committee. The role may be shared between Group members, as often happens when there is more than one sponsoring Society.

The Church Recording group A Church Recording group is usually made up of at least 12 volunteers, which enables Recorders to work in pairs or small teams on each Section. One way of recording with a small group is to take one section at a time and work on it together. A Photographer and an Editor-Compiler, who are competent on the computer, are also necessary. Often the Group Leader is also the Compiler (see Photography Supplements, and Compilation and Production of the Record in this Handbook). Each Group member should ideally be a member of a NADFAS Society. Societies can join together to form one Church Recording group. Volunteers who are not full members should become Affiliate members to be sure of cover by NADFAS insurance.

Recruitment and publicity • Recruit new Recorders from your Society and from New Members Meetings. • Keep a high profile at Society meetings and on the Society website, to ensure the members know the church where you are working and your progress. • Free badges are provided for the members to wear in the church, at Society meetings and at other events, for identification purposes. • Publicise your work with open days and articles in local papers. Invite the committee(s) to the presentation of the Record. • Encourage the social aspects of recording with coffee/lunch breaks, start of the season or end of year lunches.

Finances Societies are responsible for financing their Church Recording Groups, according to the guidelines in the NADFAS Handbook for Society Chairmen. It is recommended that a minimum amount of £250 per annum is made available to Church Recorders from their sponsoring Society or Societies, with any unspent allocation being carried forward to subsequent years as a Record usually takes more than a year to complete. At the outset of each new Recording, the Group Leader should agree with the Society Committee a budget for the duration of making the Record. Costs should include photography, photocopying and binding. They may include purchase of reference books. Travel is not reimbursed except in exceptional circumstances and at the discretion of the Society. Most costs will arise at the end of the recording. Tell the Society Treasurer that a grant of £125 towards the costs of photography and compiling may be claimed from NADFAS House. To claim the Photography and Compilation Grant complete the application form and send it with relevant receipts to the Volunteering Department. The grant will be paid to the Society.

March 2014 53 THE ROLE OF THE CHURCH RECORDERS GROUP LEADER

Running a group Group Leader The main role of the Group Leader is to encourage and support the group to produce a Record Role of within a reasonable time. Supporting the Recorders’ work, together with organising social gatherings will help to achieve this. Your CRAR is there to support you, arrange training/study days and provide a link with the CR Team. Keep in touch and arrange periodic visits. • Ensure all Recorders know how to access the Member’s Area of the NADFAS website. • See that all members of the group have the CR Handbook and Sample Pages and the books Inside Churches and Recording a Church; an illustrated glossary. • Set up a contact list with email, addresses and phone numbers and ensure that those without email are not left out. • Pass on to your group all information and updates from the Volunteering Department. • Organise training as needed (discuss with your Area Representative), make Recorders aware of other training opportunities. • Ensure the Photographer(s) sign the copyright assignment form for NADFAS to hold the copyright of text and photographs in a Church Record.

Before choosing a church check the following • It has not been recorded recently. • The incumbent, churchwardens and Parochial Church Council (PCC) are supportive. • It is a realistic proposition, considering the size and competence of your group. • It is easily accessible and within reasonable distance for your Recorders.

Initial approach to church and church authorities • Meet with the churchwarden and incumbent. Ensure that they understand what is involved in the making of the Record and support the project. Offer to speak to the PCC. It is useful to show them a copy of the handbook and/ or an earlier Record. Make use of NADFAS publicity. • If there is concern about the content of a Record becoming available to potential thieves, the incumbent or minister should be advised that “Formal copies of the Record will be given to local and national archives, where they will be stored in secure premises. Public access to them will be permitted only to researchers through the archives’ reader verification procedures. Certain items are entered in the online church records index for the use of family and art history researchers but items of precious metal are excluded from the list”. • The church should be made aware that when a Record has been completed, the copyright is held by NADFAS. If the church wishes to reproduce any of the contents, it should apply to NADFAS which will normally grant permission and with no charge. You will need written permission to proceed from the Parochial Church Council (PCC) obtained by the Group Leader; and from the relevant church authorities obtained by the CRAR or the Church, as follows: • Church of England/the Church in Wales or Catholic Diocese, permission of the Archdeacon,

54 March 2014 THE ROLE OF THE CHURCH RECORDERS GROUP LEADER

• Church of Scotland, permission of the Minister of the chosen church, who will usually seek permission of the Kirk Session, • Scottish Episcopal Church, permission of the Dean, the Rector and the Vestry, • Other Denominations, permission of the appropriate authorities. Role of

When written permission has been obtained, hold a meeting with the churchwarden or Leader Group representative in order to clarify • access arrangements, car parking, lighting, toilet and coffee making facilities, • permission to access all areas within the church necessary to do the work, in particular identifying any hazardous areas, • convenient times for recording, if the church is normally kept locked, bearing in mind the need for regular visits. Make arrangements for obtaining and returning the keys of the church. Ensure that the keys to the parts of the church usually kept locked, the vestry, organ, chests and safes etc are included. • Exchange telephone/email details for cancellations due to funerals etc.

At the same time • Obtain a plan of the church, check the names used by the church for each area and obtain copies of any church guide/history. • Arrange for the Library Recorder to see all the books and documents relating to the church, whether kept in the church or elsewhere e.g. County Record Office. Churches may also keep a Donation and Gift Book or have documents and drawings relating to designs for windows, screens, textiles etc. • Discover the whereabouts of all the church plate (some of which may be kept in the bank or elsewhere) for the Metalwork Recorders. Discuss making it accessible to be recorded and photographed. • Ascertain whether there is a particularly knowledgeable member of the church who would give a background talk to the group and be a source of information. • Enquire about any publications on the history of the church and furnishings. • Send/email the New Church Form to the Volunteering Department at NADFAS House. This should be each time you start a new recording.

Recording The main task of the Group Leader during the months of recording is one of support. The Group Leader should also work closely with the Compiler and Photographer. • As well as ensuring that all Recorders have a copy of the Church Recorders Handbook, Sample Pages and copies of Inside Churches and Recording a Church, ensure that they understand the method of recording. Reinforce the 1-10 format. • Organise the making of a History File available to all Recorders and encourage follow-up research. (see Research, under General Information and Locating Archival Material in the Library Section). • Arrange a meeting of the whole group so that any general points can be dealt with. It is helpful to work through all the Sections of the Handbook, so that all Recorders understand the process from drafting to compilation. • Encourage them to work through the General Information section of the Handbook as well as their own Section, and check they are able to download Supplements for their Section. • Arrange a regular day and time to work in the church together, weekly or as commitments (and the temperature in the church) allow.

March 2014 55 THE ROLE OF THE CHURCH RECORDERS GROUP LEADER

• New Recorders should be supported by an experienced Recorder. This can be Group Leader arranged via your CRAR if support is not readily available within your group. Role of • Provide a plan for each Section with the names of different areas of the church for consistency. • Check the numbering of the Section with the Recorders of that Section at an early stage. Refer to the CRAR if you are unsure in which Section an object should be recorded. No object should be recorded more than once (see Numbering System, General Information and specific Sections). • Liaise with the Photographer (See Photographer’s Information and Supplements) It is important to facilitate meetings between the Photographer and Recorders so that the photography can be planned. Photographs of detail are very important for some Sections eg Windows and Metalwork so coordination is vital. • Encourage each Section to check the photographs and numbering with the Photographer.

Use of experts Queries sometimes require the assistance of experts. Your CRAR may be able to help. Help from a specialist must be found to describe the blazoning of heraldry. Specialist help should also be sought for objects such as a pipe organ. A comprehensive list of experts is available on the NADFAS website. Although individual Recorders may contact an expert, the task should be coordinated by the Group Leader to avoid duplication. If sending a letter, always send a SAE and keep a copy of the letter or emails. When quoting the advice in a Record ensure that no personal details are shown.

Checking of drafts The checklists at the end of each Section are designed to help the Recorders of each Section and the Group Leader to ensure that all relevant information is included. The Group Leader should check all the Sections at an early stage. New or inexperienced Recorders will need constant support and encouragement. A new Group Leader may arrange for the CRAR to help with checking early drafts.

Completing the Record (see Compilation and Production of the Record) At an early stage in the recording process, plan how you are going to work towards the final draft.

Preparing for compilation Once all Sections are completed the following tasks should be carried out: • Check the required plans have been prepared. (See Sample Pages: Introduction, Memorials, Woodwork, Windows and Miscellaneous), • Compile the lists of Names, Artists/Makers (with their object numbers), • Collect a list of reference books used, with their abbreviations, for the Introduction. • Check each Section has listed the Gifts given in Memory to go at the end of Memorials, • Church Recorders supply information to a number of interested bodies. The forms for these are listed below and can be found on the website. • Obtain the church reference number from the Volunteering Department.

56 March 2014 THE ROLE OF THE CHURCH RECORDERS GROUP LEADER Compilation and Production of the Record and Distribution of Completed Records are chapters in this Handbook and in the Photography Supplements. When the Record is complete, send it to your CRAR (with the numbered photographs) to be checked BEFORE the final printing. Once recording in the church is complete and compilation is well underway you may start to record another church but please note that a group should never be working on more than two churches, one at recording and one at compilation stage, at the same time. Presentation of Record  To the Church It is usual for the Record to be presented to the churchwardens and incumbent during a service in the church. This copy should be sewn and case bound. Invite your Society committee/s, CRAR and Area Chairman to join the group for this occasion to celebrate the completion of the Record. It is also recommended that members of the sponsoring Society/ies should have an opportunity to see a copy of the Record.  To the County/Diocesan Archive Office The Group Leader will deliver a copy of the Record in the agreed format, together with the Deposit of a Record at the CRO form, for which a receipt will be given. A printed copy should be sewn and case bound.  To the V&A, Historic England and ChurchCare All three copies of the Record for these three bodies and with the Completion of a Church Record form must be delivered in one package to NADFAS House. They will be, for the V&A an archival gold cd, and for both Historic England and ChurchCare a memory stick with a pdf/a copy of the whole Record plus the photographs in both .tiff and .jpeg format and plus an Index Sheet for Historic England. A receipt and certificate will be issued by NADFAS House. Administration forms available online • Compilation and Photography Grant Application Form • Items to Order (gold CDs etc) • Assignment of Copyright (Photography Supplement 3) • Completion of Church Record Details • New Church Details • Change of Group Leader Information Forms available on line, as follows, are completed only if there is a relevant object. They should be completed by the Recorder, Group Leader and Compiler jointly to avoid duplication, and then returned as directed. • Memorials War Memorials (inside the church) Memorials to Seamen Portrait Memorials Memorials with Southern Asia or/and China connections • Metalwork Armour in churches Pewter in churches • Stonework See Mass dial supplement • Textiles Army Standards, Guidons and Colours • Windows War Memorials (when it is a window) Kempe Windows Clayton & Bell Windows • Miscellaneous Copy pipe organ section to NPOR Victorian & Edwardian heating installations Victorian Reed Organs and harmoniums Turret Clock Recording Form • General Objects made by Faith-Craft Works as found in any Section

June 2016 57 The Church Recorders Area Representative (CRAR) is responsible for • Helping to formulate and support Church Recording (CR) policy and standards. • Motivating and supporting CR Groups in their Area. • Representing the interests of Church Recorders from their Area. • Liaising with church authorities at diocesan level. The diagram below summarises the key elements of a CRAR’s role, whether done by an individual or a CRAR Team.

attend Area and national meetings

support give CRs during feedback Recording/ on Record compiling CRAR &/ quality or CRAR team

arrange promote training CR with and study Area days

Appointment The CRAR is to be selected by the Group Leaders in consultation with the Head of Church Recording and the Area Chairman. Before taking over the role of CRAR, the CRAR-elect should be invited by the Area Chairman to join the outgoing CRAR at an Area Team meeting and be formally approved by the Area Chairman. Having a small Team to help you may make it easier to find a successor. A minimum period of about three years is suggested for a CRAR to ensure that you have time to develop your knowledge, and a maximum of eight years to provide the opportunity for fresh ideas.

Useful skills and experiences • experience of recording and knowledge of local archival sources • ablility to communicate cogently and fluently in public and in small groups • ablility to give advice with authority and tact • be prepared to travel throughout the Area and attend Area and national meetings • ablility to read quickly and accurately and to be computer literate • be prepared to organise Area compilation and training days

Support for an Area Representative is readily available from the Volunteering Department, and the Church Recorders Team. Expenses Reasonable travel and other expenses will be reimbursed by NADFAS. Claims should be submitted to the Volunteering Department using the Expenses Form. Keep a copy of the Volunteering Area Expenses guidance to see what you may claim.

58 June 2016 THE ROLE OF THE CHURCH RECORDERS AREA REPRESENTATIVE

Develop a good relationship with each Group Leader and CR group and offer them support. Group Leaders need to feel that they can easily call on their CRAR for help and advice. • All groups must be visited when they start a new church. Occasionally it may be necessary to help them on the choice of church. • Each Group should be visited at least once a year. Any group that takes a long time to complete a Record or has Leader/people problems should be visited more often. Well-established groups producing good quality Records will need less attention. • Organise at least one social event each year (eg lunch or a visit) for Group Leaders, so they can share experiences. • Ensure that each Group Leader knows how to access the website and is familiar with the supplements and forms that are available. Role of Area

• Organise regular annual or bi-annual ‘Compilation Days’, with the help of local or Representative national trainers. • Arrange training either for groups or Sections, leaders or Compilers locally or in the Area as required. Funds may be available from NADFAS to help with the cost of training. Requests for funding should be discussed, in advance, with the Volunteering Manager. • Encourage the Photographers in the Area to meet and exchange information and advice. • Always inform the Volunteering Department when a group goes into abeyance, or when there is change of Group Leader. • Make sure that the Group Leader informs the Chairman of the sponsoring Society and the Volunteering Department when a church is recorded and another one started. • Ensure that no group has more than two Records at the recording/ compiling stage.

Supporting a new Church Recording Group • New groups or groups with new Leaders, or many new recruits need to be visited frequently. • Help the group to find a Group Leader. Training days for Group Leaders are organised annually. Encourage the group to find a suitable first church which ideally should be small and interesting, cover all sections and, if possible, be centrally situated for the Recorders. • Make sure that a new Group Leader has informed the Chairman of the sponsoring Society of the group’s plans and discussed the financial implications. • Support the Group Leader (see the Role of the Group Leader) and ensure that he/she approaches the incumbent, churchwardens and Parochial Church Council (PCC) for permission to record the church. • When local permission has been obtained, seek permission of the relevant Archdeacon to record the church. • Check that the Group Leader has informed the Volunteering Department of the new group and the church it intends to record using the appropriate forms. • Train the new group thoroughly at the beginning, using this Church Recorders Handbook and Supplements as well as the Sample Pages. A new group may be enthused by a visit to an established group when it is working in a church. • Maintain frequent contact until the group has confidence.

March 2014 59 THE ROLE OF THE CHURCH RECORDERS AREA REPRESENTATIVE

Checking Records • It helps to check each Section as it is completed and after the Group Leader has checked it. Mistakes can then be corrected at an early stage. This is additional to the final check. • When checking heraldry, hallmarks, organs, bells, turret clocks and window makers ensure that the group has consulted or checked with an expert and that the expert’s name is cited. Representative

Role of Area • For the final check use the Record Checklist. • Audit each Record so that it is as accurate as possible before printing. • Check the whole Record with numbered photographs before the final printing.

Liaise with the local church authorities • Keep in touch with the relevant church authority (eg the Archdeacon for Anglican churches). Seek permission to record churches and inform them of progress. Invite them to visit a group at work. • Through the Secretary of the Diocesan Advisory Committee for the Care of Churches (DAC) ensure that the DAC Chairman knows who you are and what churches are being recorded. Obtain from the DAC a list of Diocesan Advisors. • Circulate information about your activities and if possible, ensure that the Bishops, Archdeacons, DAC Chairman and Secretary all receive copies of the annual NADFAS Volunteering Supplement. When sending a copy, draw attention with a note to any items connected with churches in their Diocese by giving page reference. Where relevant, do the same for non-Anglican church authorities. • When handing over to a successor, ensure you inform the relevant church authorities.

Liaise with local organisations • Research funding opportunities eg local authorities. • Circulate information about your activities to County Archaeological Societies, local press and museums, History Societies and Historic Churches Trusts. Offer to speak at their meetings as you may recruit new Church Recorders. • Identify organisations that can give advice such as a county heraldry society or an embroiderers’ guild.

Compile information for your groups, for example • local depositories for archives with website details, addresses and phone numbers • Archaeological and Historical Societies and where their journals can be accessed • useful publications relating to the Area • online availability of old editions of local newspapers • researchers in the Area who might be able to help

60 March 2014 THE ROLE OF THE CHURCH RECORDERS AREA REPRESENTATIVE

Attend Area meetings (held Spring and Autumn) • Ensure that the aims of Church Recording are understood. A display board with information will be a focus of interest and may encourage Societies without a Church Recording group to set one up. • Make yourself known to Society Chairmen and discuss the progress of their Church Recorders. Ensure that they know what the groups, which they are sponsoring, have achieved. • Report on all Church Recording groups in the Area. • If there is enthusiasm from the members or Chairman encourage the Society, where no group exists, to set up a new Church Recording group. Offer to meet with those who show an interest, in order to explain the work of Church Role of Area

Recording. If there are approximately 12 interested members in a society then a Representative Church Recording group is viable and can be formed. • Offer to attend a Society meeting to give a short talk on Church Recording, using the Church Recording podcasts. This could be before or after the monthly meeting, or at a special meeting. • Ensure that information on Church Recording and details of churches being recorded are on the Area website (with contact details) and are up to date.

Attend CRAR’s meetings (usually held twice yearly at NADFAS House) where you can: • exchange news and ideas and discuss problems with other CRARs and the Team • pass on the views of your Recorders • exchange ideas on Church Recording policy and standards • give an annual summary of Church Recording in your Area

March 2014 61 BIBLIOGRAPHY

These books will provide helpful information for Church Recorders. Those which are out of print may be available in local or county libraries or bought second hand online. Books that can be read online have the website after the publishers’ details.

GENERAL AND ARCHITECTURE The Holy Bible, Old & New Testaments with Apocrypha Cruden’s Complete Concordance to the Bible Lutterworth Press 1992 ISBN 0718823400 Inside Churches, a guide to church furnishings NADFAS Enterprises 2001 ISBN 09540191 Recording a Church – an illustrated glossary Council for British Archaeology 1996 ISBN 1872414567 Victoria History of the Counties of England OUP (county volumes) or www.archive.org Inventories of the Royal Commission on Historical Monuments of England HMSO or www.archive.org Brun RS, Photography of Church Furnishings Church House 1999 ISBN 071517577 7 Cox, JC & Harvey A, English Church Furniture Methuen & Sons 1989 (contains gazetteer) or www.british- history.ac.uk Curl JS, English Architecture, an illustrated glossary David & Charles 1966 Bibliography Ellwood Post W, Saints, Signs and Symbols SPCK 1964 ISBN 028102894(14th impression) Farmer DH, Oxford Dictionary of Saints Oxford Clarendon Press 1987 ISBN 019282038-9 Friar S, The Sutton Companion to Churches Sutton Publishing 2003 ISBN 0750934743 Hall J, Dictionary of Subjects and Symbols in Art Murray 1992 ISBN 0719541476; or CUP 1996 Harris J & Lever J, Illustrated Dictionary of Architecture 850-1830 Faber & Faber 1993 ISBN 0571137660 Haward A, Making Sense of It 2012 (booklet on translating Latin texts) available from Mrs A Haward, 12 Church Green, Broomfield, Essex CM1 7BD (£5 incl p&p) Livingstone EA, ed Concise Oxford Dictionary of the Christian Church OUP 1977 ISBN 0192830147 Lister M, Costume; an iIlustrated survey from ancient times to the 20th century Barrie & Jenkins 1971 Meakin T, Basic Church Dictionary Canterbury Press 1995 ISBN 1 85311 087 6 Murray P & L, The Oxford Companion to Christian Art & Architecture OUP ISBN 0198602162 Needham A, How to Study an Old Church, Batsford 1945 Pevsner N, & others, The Buildings of England Penguin (series of volumes) Pevsner N, Architectural Glossary Yale UP 2010 ISBN 978 0 300 16721 4 Randall G, Church Furnishing in England and Wales Batsford 1980 Remnant M, Musical Instruments – an illustrated history Batsford 1989 Rice M, Architectural Primer Bloomsbury 2009 Robertson TJD, The Sacristan in the Church of England Kevin Mayhew 1992 ISBN 0862092426 Taylor R, How to Read a Church Rider 2003 ISBN 1844132382 Ware & Strafford, An Illustrated Dictionary of Ornament Allen & Unwin 1974 The Church in Scotland, a brief history and glossary for NADFAS Church Recorders pub 2013

HERALDRY (NB verify all heraldry with one of the experts on the heraldry list) Burke Sir B, The General Armory of England, Scotland, Ireland and Wales Tabard 1966 Brooke-Little JP, An Heraldic Alphabet Robson Books New & Revised edition 1996 ISBN 1861050771 Elvin CN, A Dictionary of Heraldry Heraldry Today 1994 ISBN 0900455004 Fairbairn J, Fairbairn’s Crests New Orchard Editions 1986 Fearn J, Discovering Heraldry Shire 1980 ISBN 0852634765 Friar S, ed A New Dictionary of Heraldry Alpha Books 1988 Friar S, The Sutton Companion to Heraldry Sutton Publishing 1992 revised 2004 Papworth JW, Papworth’s Ordinary of British Armorials Tabard Publications 1961 Pine LG, A Dictionary of Mottoes Routledge & Kegan Paul 1983 Slater S, History and Meaning of Heraldry Southwater ISBN 1 84215 958 5

62 March 2014 BIBLIOGRAPHY

MEMORIALS Chapman L, Church Memorial Brasses and Brass Rubbing Shire Publications 1987 ISBN 0852639058 Franklin J, Brasses Arco Publications 2nd ed 1969 Gunnis R, Dictionary of British Sculptors 1600-1851 Murrays re-published 1968 Haines H, A Manual of Monumental Brasses Adams & Dart 1970 (reprinted Bibliobazaar 2009) or www.archive.org Kemp B, English Church Monuments Batsford 1980 Kemp B, Church Monuments Shire 1985 ISBN 0852637683BB Lack, Stuchfield & Whittemore P, The Monumental Brasses of [County] Series 1992 – ongoing (from the Monumental Brass Society www.mbs-brasses.co.uk ) Macklin HW, The Brasses of England EP Group 1975 or www.archive.org Parker J, Reading Latin Epitaphs Exeter Press ISBN 978 1 905816 05 7 Roscoe I et al, A Biographical Dictionary of Sculptors in Britain 1660-1851 Yale UP 2009 or www.henry-moore.org/hmi/biographical-dictionary-of-sculptors-in-britain Suffling ER, English Church Brasses The Tabard Press 1970 Whinney M, Sculpture in Britain 1530-1830 Penguin Books 2nd ed 1988 ISBN 0140561234 Yarwood D, English Costume from the 2nd century BC to 1960 Batsford 1961

METALWORK (NB verify all silver marks with the Goldsmiths’ Company Bibliography or relevant Assay Office) Bambery A, Old Sheffield Plate Shire Publications 1988 ISBN 852639651 Bradbury’s Book of Hallmarks 1743 to 1860 Campbell M, Decorative Ironwork V&A Publications 1997 ISBN 1-851771964 Culme J, Directory of Gold and Silversmiths 1838-1914 Emmerson R, Church Plate Church House Publishing 1991 ISBN 07151 7550 5 Fallon P, Marks of London Goldsmiths & Silversmiths 1697-1837 Barrie &Jenkins Fallon P, Marks of London Goldsmiths & Silversmiths 1837-1914 Barrie & Jenkins ISBN 0712654062 Geddes J, Medieval Decorative Ironwork in England Society of Antiquaries 1999 ISBN 0854312730 Grimwade A, London Goldsmiths 1697-1837 Hornsby P, Pewter of the Western World, 1600-1850 Schiffer 1983 ISBN 0916838838 Hull C, Pewter Shire Publications 1992 ISBN 074781525 Jackson CJ, English Goldsmiths and their Marks ed. Pickford I, Antique Collectors Club (ACC) 1989 Jackson CJ, Pocket Edition Jackson’s Hallmarks ed. Pickford I, ACC 2000 ISBN 1 85149 169 4 Mattheau-Raven ER, The Identification of Sheffield Electroplated Wares 1843-1943 Moulson, D & Neish A, An Introduction to British Pewter Brewin 1997 ISBN 1858581028 Peal C, Pewter of Great Britain Gifford 1983 ISBN 0 7071 0635 Wyler SB, Book of Sheffield Plate... with full table marks Bonanza Books USA 1949

STONEWORK See General and Architecture

WOODWORK Corkhill TA, A Glossary of Wood Stobart & Sons 1989 Cox C & Harvey A, Church Furniture Methuen & Co or www.archive.org Grossinger C, The World Upside Down Harvey Miller 1997 Hayman R, Church Misericords and Bench Ends Shire Publications 1989 Howard FE & Crossley FH, English Church Woodwork Batsford 1917/1927 or www.archive.org Tisdall MW, God’s Beasts Charlesfort Press ISBN 0 9532652

March 2014 63 BIBLIOGRAPHY

TEXTILES Anson P, Fashion in Church Furnishings Faith Press 1960 Dean B, Embroidery in Religion and Ceremonial Batsford 1981 Dearmer P, Ornaments of the Ministers A R Mowbray 1920 or www.archive.org Mayo J, The History of Ecclesiological Dress Batsford 1984

PAINTINGS, etc Brooke-Little JB, Royal Heraldry Pilgrim Press 1987 ISBN 0900594594 Cautley, Royal Arms and Commandments in our Churches Boydell O Press 1974 Rouse CE, Medieval Wall Paintings Shire Publications 1991 Storry JG, Church Heraldry Nettlebed Press 1983 ISBN 0946628009 Summers P, Hatchments in Britain Phillimore 1985 (10 vols) set at NADFAS House

LIBRARY Glaister GA, Glaister’s Encylopedia of the Book Oak Knoll Press 1996 Bibliography Greenfield J, ABC of Bookbinding Oak Knoll Press & The Lyons Press 1998 ISBN 1884718418 Herbert AS, (Darlow & Moule) Historical Catalogue of the English Bible 1525-1961 British & Foreign Bible Society 1968 Tate WE, The Parish Chest CUP ISBN 521066034 Tate WE, Guide to the Parochial Registers & Records Measure CIO Publishing 1978 ISBN 0715136836

WINDOWS Brown S, Stained Glass, An Illustrated History Studio Editions ISBN 1 85891 157 5 Cowen P, A Guide to Stained Glass in Britain Michael Joseph 1985 (contains gazetteer) Harries J, Discovering Stained Glass (rev by Hicks C) Shire Publications 1996 ISBN 074780205X Harrison M, Victorian Stained Glass Barrie & Jenkins 1980 Little J, Stained Glass Marks & Monograms (ed. Goedicke A, & Washbourn M,) NADFAS 2002

MISCELLANEOUS Baker D, The Organ Shire Publications 1993 ISBN 0747801312 Beulah K, Church Tiles of the Nineteenth Century Shire Publications 1987 ISBN 0852638426 Bicknell S, The History of the English Organ CUP 1996 (Paperback 1998) Fowler D, Church Floors and Floor Coverings Church House Publishing 1992 ISBN 0715175637 Gill B, An Introduction to the Recording of Church Organs 2011 (available via NADFAS) McKay C, Turret Clock Keeper’s Handbook Antiquarian Horological Society 1988 ISBN 0 901180 327 Rock H, Church Clocks Shire Publications 2008 ISBN 978 0 7478 0687 5 Stopford J, Recording Medieval Floor Tiles Council of British Archaeology 1990 ISBN 1 872414 0306 Thistlethwaite N & Webber G, (ed) The Cambridge Companion to the Organ CUP 1998 van Lemmen H, Medieval Tiles Shire Publications 2000 ISBN 074780463X van Lemmen H, Victorian Tiles Shire Publications 1999 ISBN 0747804443 van Lemmen H, & Blanchett C, 20th Century Tiles Shire Publications 2000 ISBN 074780401X

64 March 2014