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INDEX.

ARCHITECTURAL DETAILS

OBJECTS OF INTEREST IN THE CHURCH
HISTORICAL NOTES

CHURCH RESTORATIONS  
MONUMENTS AND TABLETS

VICARS OF PATRIXBOURNE

REGISTERS

PAGE

10
11

11

STAINED GLASS WINDOWS, ANCIENT AND

MODERN

WORKS CONSULTED

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Guide and
Historical Notes

TO THE

PARISH CHURCH . 01: A

St. Mary, Patrixbourne, A
N1‘. Canterbury.

H. KNIGHT,  rVICAR. H

EASTER, 1930.

-—-—r

, -...,,-‘I

PATRIXBOURNE CHURCH.
Dedicated to St. Mary.

Visitors to Patrixbourne, greeting and welcome.

These few lines are written chiefly with a view
to make your visit interesting from an architectural

point of view. Take this book with you and follow

what is written.

Proceed to the East end of the Chancel, by the
entrance gate to the Churchyard, and look carefully
at this East end. It is needful to recall here that
mention is made in the Domesday Survey, 1086,
of a Church being in this place. This Church was
most probably a construction in wood, as many of
the Churches were in those days, and as no masonry
has been found consistent with this early date. Upon
the site of this wooden Church was built, for the most
part, the present late Norman Church, 1l70———l180.
This date being agreed upon by the best authority,
and this date stands good for the whole of the Norman
work you will find here. The elaborate decora-
tive work being done by the sculptor on the bench
and the plainer work by the banker mason with his

axe. ,
The East Wall of the Chancel.

Looking at the upper part of this wall, you will
observe the beautiful Norman Marigold window of
eight lights radiating from one central light. The
shafts or mouldings being cylindrical in shape, capped
with figure-heads and foliage, no two being exactly
alike, the bases being blocked square into the
moulding of the circular light. These shafts are
joined, one with the other, by cusped trefoil work
brought into line with the capitals. The work is
recessed and the moulded circle completed with
zig—zag ornamentation, the outer rim of the circle
being finished with hatchet decoration and has a
nicely—carved figure-head let in between the decorated
work at the top of the circle. Altogether a very
pleasing and beautiful window.

2

Below you will notice three Norman windows,
the centre one being higher and larger in other respects
than the plain window on either side. This centre
window is slightly recessed and has cylindrical shafts
with capitals and abacus stones nicely carved, as well
as the base stones. From these arise three mouldings

forming the arch.

The three windows stand on a chamfered plinth
string course extending the width of this wall and the
North and South walls of the Chancel.

Notice the two grotesque heads, animal or human,
at the eaves of the roof may have been gargoyles
or simply corbels put in for decorative purposes,
difficult to say. Proceed round the Church to the
South and you come to the

Priest’s Doorway leading into the Chancel.

This Norman doorway is recessed, having two
rounded shafts or columns with capitals and flat
or abacus stones nicely carved in various designs
of foliage and lace work. From these capitals arise
five moulded courses, forming the circular head of
the doorway, being richly.carved with chevron, nailhead
and other designs, the bases of the shafts are also in
carved work.

Above this doorway is our Lady of Patrixbourne
on a ledge with triangular canopy above, the Church
being dedicated to St. Mary. Looking closely you
will observe the draping round the head and shoulders
of the figure. Notice the plain Norman windows on
either side. To the left you will see a modern
geometrically designed decorated window of two
lights below and three above, the head design
being filled in with trefoil work. Above this window
a little moon—shaped face smiling upon you. This
window in the East wall of the South Aisle has probably
taken the place of a small Norman window corresponding
to the one to be seen in the West wall of this Aisle.
Next you come to a window in the South wall of this
South Aisle of the early decorated period, two lights

H

15

Also in Bifron’s Chapel, East wall, there is a
pleasing window by Clayton Bell, the subject being,
in two principal lights : The Burial of Christ and The
Risen Christ. 1882.

The subjects in the three lights of the West
Window are: 1, Christ at ]acob’s Well; 2, The
Ascension ; 3, Christ healing the cripple. 1857.

All the other windows in the Church are in plain
tinted glass, without subjects, except in the North
Aisle, where animals, symbolical of the Evengelists,
may be found.

References .

The books and articles of recognised authority
which have been consulted in compiling these notes
and to which the writer is greatly indebted, are:
in reference to the parish, Hasted’s History of Kent;
in reference to the Church edifice, articles in Volumes
XIV. and XXVIII., Archaeologia Canticma; in
reference to excavation in Saxon Cemetery, articles
in Volumes IV., VI., X. and XIII. of the above work,
published by the Canterbury Archaeological Society.
Also the Parish Registers.

"7//6®V\”

14

banks of the River Jordan. Beneath: Henry John
Shwander and Ana Maria Zengerin, 1670. 3: A
Knight, or possible Crusader, with a banner on which
is depicted a fully-robed Bishop with mitre and crosier;
also a Church, sacrificial ox and other details. 1550.
No inscription. 4: Saint Meinrad. Inscribed :
Meinrad Giintlin of the Council in March, and Ana
Maria Giintlin, his wife, 1670. This picture is full
of the details in connection with the Saint’s life and
Martyrdom. Painted apparently in commemoration
of this man’s Christian name.

Left-hand top light.—-1 2 A Knight in armour
standing with arms akimbo. No inscription or date.
2: Christ going to raise Lazarus. Inscription:
Iohn Peter Giintlin, Councillor and Registrar of
State in March, and Ana Maria Zieglerin, his wife, 1670.
3: Two Figures-'—man on the ground and woman
leaning over him. This may be a picture of Tristan
and Isolde from the Rhine legend upon which Wagner
composed one of his operas. Another suggestion:
Shakespeare’s characters of Pyramus and Thisbe.
No date, inscription or names. 4: The Adoration
of the Shepherds. The Cherub in the clouds holds
a scroll inscribed: “ Gloria in Celis.” Underneath
the picture inscribed: Jo. Lasrar Steinegger Sechel,
Master of Taushatli in March, and Ana Barbara
Hegnerin, his wife, 1670.

Modern Stained Glass.

In the North wall of the Church, nearest the
East end: Christ’s entry into Jerusalem; Christ
blessing little children; Christ raising the widow's
son.

In the South wall of the Chancel, nearest the East
end : The flight into Egypt ; The Saviour in the Temple
at twelve years ; The raising of Jairus’ daughter.

All these are small panels, three in each window.

-/'-. ‘._a.._——_ ._.-,.

3

below and four small lights in the head, the head
being filled with trefoil work. The window probably
taking the place of a plain Norman one.

Proceeding you come to

The Tower and magnificent South Doorway.

Here it is necessary to pause for a time in order
to appreciate what is in front of you. First notice
the position of this Norman Tower, with the four
sound holes in each square of the Tower above the
belfry. It is situated midway in the middle of the
South Aisle, a position not exactly unique, but very
uncommon ; also notice the Porch is formed within
the Tower, the South Aisle being prolonged East
and West of the Porch, again a very unusual arrange-
ment, Towers and entrances being usually placed
at the West end of the Nave.

Now look at this

South Doorway.

One of the most beautifully and richly carved
doorways of the late Norman period to be found in
the country. You will observe it is deeply recessed,
with two cylindrical shafts and one half cylindrical shaft
each side, the capital and abacus stones of these shafts
are elaborately carved with foliage and other designs
as well as the base stones. From these arise no less
than six moulded courses, forming the head of the
doorway, all richly carved, divided into sections,
each section being treated difierently in the matter
of design, consisting of floral, animal, human and
geometrical patterns ; the base or lintel stone of the
Tympanum is also elaborately carved, alas, in places
indistinct through decay. Notice the various original
mason’s marks on the jambs of the doorway. Beside
these marks is a circle with a hole in the centre,
intended for the arm of a sun dial by which the sun
would cast a shadow across the circumference at the
point intersected corresponding to the time of morning
and evening prayer, possibly a crude form of what
are known as Mass Clocks.

Now look at

The Tympanum.

This contains the figure of our Lord in ‘Glory
holding His hands in blessing on the kneeling figures
attendant on each side, presumably angels and
cherubim. The halo or nimbus round the head is
Greek cruciform, the whole design being arranged
immediately beneath a scolloped panel moulding.

Above this doorway you will notice a triangular
canopy marked out’ by a moulding enriched with zig-
zag decorations; and within the canopy a small

"Arch Niche or Tabernacle, complete with carved

shafts and moulding forming the head, within this
Niche is the Agnus Dei or Lamb of God. Looking
carefully you can see the outline of the lamb, head
with halo and the flag on the back.

For the meaning of the various grotesquely carved
animals, etc., in this doorway it is necessary to consult
a book known as the Physiologus or book of the
Bestiary concerning Christian Allegories, chiefly of
the Animal World and the Beasts mentioned in the
Bible, Deut. xiv. 16, Isaiah xiii. 21, 22.

In design and execution the whole of this work
is a masterpiece of the period.

The two unsightly and cumbersome brick
buttresses were evidently erected as supports for the
Tower, date uncertain.

Proceeding West and immediately beyond this
doorway, notice the wall of this South—West Aisle.
Here you see a section of the original Norman work
enclosed in extremely hard plaster, giving an idea
of the outward appearance of the whole of the walls
of this ancient Norman Church before they were,
as they have been for the most part, encased in split-
flint work. You will observe this hard plaster ceases
about eighteen inches from the top of the present
level of this wall, indicating that it has been at some
time raised to that extent, probably to accommodate

13

when He was born at Bethlehem. The three kings
came, bringing ofierings to the new—born Child.”
Beneath the picture: Deudrick Malcheor Tutz,
State Physician. Barbara Heir, his wife, 1589. P.B.
(apparently artist’s initials). 4: Two Figures.
Apparently Priests, the left holding the Chalice and
the other a Flagon, vessels for the Communion. In
detail, at corners of the picture, the Crucifixion and
other Scriptural subjects. No date.

Left—hand of the central light.—1, Top: The
Transfiguration. The Loklieb? State Lucern. Anno
1643. 2: The Crucifixion. Inscription panel above
the picture. Translation: “ Holy Angel and
Messenger pray God for me poor sinner, if He will
forgive me a sin committed against everlasting life.”
Beneath the picture : Michael Byster. Anna Balcker,
his wife, 1589. 3: Samson slaying the Philistines
with the jaw-bone of an Ass. Inscription translated :
Judges in the XVth Chapter. 1538. No names.

Right—hand of the central light.——Top, 1 : Kayst
Councillor, 1602. No inscription. 2: Our Lord’s
Agony in the Garden. Inscription: Bern Kesshalter,
Provincial Governor in Bollents, 1589. Above picture,
translation: “ When Abraham came from the battle
Melchisedeck brought an o 'ering, bread and wine,
a symbol of Christ to the heart. As the prophet says
in the Psalm: ‘Thou art a Priest for ever.’ ” 3:
David Rescuing his Sheep from the Lion. No date,
name or inscription.

The South window in Bifron’s Chapel. This
window is divided into two main lights, and in each
light are four ancient medallions of coloured and non-
coloured glass arranged alternately.

Right-hand top.——l : Christ nailed to the Cross.
(Recumbent) Translation above the picture: “ When
Abraham came from the battle Melchisideck brought
an offering,” a symbol we now have at the altar of
the New Testament. Beneath: Baldaesar in Ebnet
Elever Wippfly Doren dea Lenia And Anna Frantz,
his wife, 1589. P.B. 2: John the Baptist on the

12

There are also in existence books containing
Churchwardens’ Accounts and particulars of Vestry
Meetings. All very interesting, as they bear on the
history of the parish and the events of long ago.

Space forbids us to go more fully into these
records.

Ancient Stained Glass Windows.

These windows consist of eighteen panels of
ancient Flemish painted and non-coloured glass,
which was collected on the Continent with much care
and presented to the Church by the first Marchioness
Conyngham, 1837.

Ten of these medallions are in the East end
triplet window and eight in the window of the South
wall of Bifron’s Chapel. They are of a mixed character,
some purely ecclesiastical subjects without inscriptions,
others knights or figures in armour with Biblical
subjects in detail and others again without any
reference to scriptural narrative. The explanation
partly is, strictly speaking they are nuptial not
memorial panels, as would appear from the trans-
lation here given of the German inscriptions connected
with some of the work. The amount of detail in some
of the panels is remarkable. It was the custom on
the Continent for the well—to—do to celebrate wedding
occasions by putting a medallion in the windows
of private houses or castles. The deep, rich tone and
colouring of the ancient panels is distinguishable
from the comparatively poor colouring of the glass
used as a setting for them. Below are the details
as far as known :—

East end triplet window—-central light.——Top, l :
Captain Jacob Wirts, 1579. 2: Heinricus. Suppliant
(and on the shield of the left leg of the figure) the
word “ Victor.” No date. 3: The Adoration of
the Magi. Inscription panel above the picture.
Translation : “ An Angel sent from Heaven’s throne
greets Mary the Virgin, who received the comfort
of Christianity which God long ago had promised

H

5

the present ridged gable roofing. In this wall is an
early decorated window of two lights, top part
trefoiled and plate tracing.

Pass to the
West End.

Here you will see a small Norman window to
the right giving light to the West end of the South
Aisle, also some of the original plaster work. The
West end window is of the perpendicular decorated
style, with six lights above and three below. The
tracery is trefoil work for the most part, with nicely
proportioned continuous mullions, the head being
completed with drip—stone, ending with two figure-
head corbels. Rather a pleasing design and probably
takes the place of a Norman window at the time
the ridged roof and gables were added. Mouldings
chamfered hollow ; jambs and sill square faced.

Continuing you come to the North wall of the
North Aisle. In this wall are placed three windows,
the first consisting of two lights below and three above,
second and third of two lights each only. These
windows are of the decorated period, 1272——l377,
the tracery being trefoil work; mullions hollow
chamfered and plate tracery between. The first
one you come to is more elaborate and pleasing.
Alas, bad restoration work has been permitted in these
windows.

Now look at yet another

Recessed Norman Doorway

in this wall, not so highly decorated and carved as
the two we have already dealt with, yet a very charming
piece of work. You will notice the cylindrical shafts
in the jambs, their capital and foot stones nicely
carved, the abacus stones in this instance being left
plain. From these arise: first, one plain stone
arch; second, one moulded course; third, another
plain arch, and last a moulded course decorated with
nai1—head and hatchet design. The tympanum below
these arches is in this case left without any figure

6

or decoration whatever. Notice the mason’s marks
on the jambs of the doorway. This doorway has
been moved and does not occupy its original position.
To be explained later.

Now please enter the building and notice the
open woodwork of the roofs, especially that of the Nave
with its four cross-tie beams, old king posts with
laterals and rafters and plaster between, high pitched
and rather pleasing.

The endeavour will now be made to re-construct
for you in imagination the appearance of the interior of
this Norman Church some 760 years ago. Fortunately
the task is not very di "cult and is best undertaken
by eliminating all modern work and the changes
that have taken place since ll70——ll80. First, the
North Aisle must be entirely cut out, having been
built in the year circ 1827 : together with the Arcade
found here, which is modern. The original North
outer wall of the Nave was in a line with this Arcade,
containing the Norman door we have just been looking
at and probably two small Norman windows. Next
the Arcade in the South Aisle, near the Pulpit, must
be cut out and replaced by a Norman Arch corres-
ponding to the one under which the Organ now stands,
immediately West of the South door. Then the
acutely pointed Arch leading from the porch into the
Nave must be eliminated and replaced by a Norman
Arch corresponding again to the one under which the
Organ is placed. Also the acutely pointed Arch
leading from the porch into the East half of the
South Aisle or what is now called Bifron’s Pew must
be cut out and replaced by a half-Norman Arch
corresponding to the one opposite leading to the West
end half of the South Aisle and now forms the Small
Vestry. What is now called Bifron’s Pew or Chapel,
has been formed by enlargement out of what was
originally the South Aisle, East of the Tower and
porch, and corresponded exactly in dimensions and
otherwise to the South Aisle, West of the Tower and
porch as it is seen to-day, the end of which is now used
as a Vestry.

ac -~«<=

11

Palmer, at St. Dunstan's, Canterbury, cast anew
two of the three bells belonging to Patricksbourne.”
The third, or biggest, when cast anew weighed 529 qtrs.,
the first, or least Bell, when new cast weighed 333 qtrs.

The Monuments and Tablets.

Those inside the Church speak for themselves
and though numerous cannot claim any great artistic
design. Two pleasing ones, however, may be found
on the North and South walls of the Chancel to the
Conyngham family and one to the Denne family in
the wall of the North Aisle.

The floor of the Chancel is paved with red and
yellow tiles, some of which bear the family crest
of Lord Conyngham with the curious motto: “ Over
falk over.” Beneath is the family vault, now filled
in, of the first and second Marquis and Marchioness.

The Vicars of Patrixbourne.

A list of these, giving the dates of Induction,
may be found framed in permanent form hanging
on the screen leading into Bifron’s Chapel. This
list was compiled by the late Rev. T. S. Frampton,
F.S.A., in conjunction with the Vicar, much diligence
and care being given to the work. It forms a very
good and reliable consecutive history, with notes
on the men in charge of the united parishes of Bridge
and Patrixbourne from the year 1189 to 1898, when
the present Vicar, the Rev. H. Knight, was inducted.

Registers and Briefs.

These are of an interesting character, commencing
with the year 1560. The first volume, inscribed
upon parchment, forms a General Register book,
including Weddings, Baptisms and Burials, together
with notes by various Vicars. At the end of the
volume is a listed account of numerous briefs and
collections made for various objects. The book is
in a fairly good state of preservation and the inscrip-
tions quite distinct.

10

“ Bifron’s Estate,” that being the name of the present
Mansion, passed in succession to the Bargrave, Taylor
and Marquis Conyngham families.

There is an old tradition handed down from
generation to generation, that on All Hallows Eve
(Saxon for All Saints), at midnight, a ghostly procession
may be seen wending its way from the old Saxon
Cemetery to the Church. As to the origin of this
tradition, it is di"1cult to say.

The parish is united ecclesiastically with that
of Bridge. Just beyond the Church, in the latter
parish, on the right hand side of the road, you may
see to-day a large hollow in Bishopsbourne Park,
known as “ Old England’s Hole,” where it is said
the Britons made their last stand against the invading
Romans before fleeing inland.

Church Restorations.

Of these unfortunately very little information
is available, and still less of the nature of the work
carried out. It is recorded, however, that the North
Aisle was added during the Incurnbency of Hughes
I-Iallett, circ 1824--1827. That Mr. Marshall, an
architect of Canterbury, carried out some restoration
in 1849; previous to this it seems the East end
triplet window was walled up, and this restoration
had to do with the Chancel. That Sir Gilbert Scott
came in 1857 to restore the whole building. A stone
inserted inside the South Tower wall records:
“ Restored by Elizabeth Marchioness Conyngham.”

The Clock and Bells.

The Clock is by Bennett, of Cheapside, London
and was given by George Henry Marquis Conyngham
A.D. 1876, who also inserted the stone clock face
above the great doorway, which is a reproduction
of the original ancient design.

In the Tower hang three Bells. One is ancient
and inscribed “ Ave Maria gracia plena.” The parish

register records: “ The 20th Anno Domini 1674,

 -*~—~—--~v  ~‘-t  A

7

In the South wall of Bifron’s Chapel is a recessed
nicely carved piece of decorative work as if intended
for a canopy for an Easter Altar Tomb, but if so the
body stone has never been placed. There is no
inscription.

\ Near the angle of the East Wall is placed a piece
of masonry with half circular head—piece carved on
the outer surface: di ”" cult to say what this has
been, work presumably Norman.

Under the whole of this Chapel is a large brick
vaulted tomb which according to the Latin inscribed
slate memorial stone at the foot of the steps leading
into the Chapel, contains the earthly remains of
the members of the Bargrave family, 1663, builders
of the original house of Bifrons. Some of the
members of this family fought and fell in the Civil
Wars of the period.

Next the gable—ridged roofs must be cut out
and replaced by one long elongated roof sloping
gradually from the top of the North Nave wall to the
eaves of the South Aisle wall, some eighteen inches
lower than now, as shewn where the original plaster
work ceases.

With these eliminations and replacements you
are now in a position to gaze upon, in imagination,
the interior of the original Norman Church.

First: The Chancel exactly as you see it now,
with the deeply recessed Norman plain windows
and the beautiful Marigold window. Two Aumbries,
or lockers, used to contain the sacred vessels, relics
and other valuables in the North and South walls.
A Piscina of geometrical design, circle, small arches,
trefoil and plate tracery, pediment triangular with
diminutive crocketed work, moulding finished with
two nicely carved figure-heads. Basin has been
mutilated. Recess for Sedilia in the South wall.
Hagioscope or Squint in the South pier of the Chancel
Arch, giving a View from the South Aisle to the Altar.

'8

Notice the horse-shoe shape of the Chancel Arch,
not unique but uncommon, with its cylindrical shafts,
capitals and foot stones simply but nicely carved,
and the moulded hatchet decoration round the Arch.

Second: The Nave of exactly the same dimen-
sions as now. In the North, wall probably two or
three plain Norman windows, and the Norman door-
way, which has been put back to form the entrance
to the North Aisle of 1827. In the West wall another
Norman window, and in the South wall, separating
the Nave from the South Aisle, three Norman Arches
in succession and in line one with another. The
central Arch leading to the porch within the Tower
and to the South Aisle East and West of the Porch.

Third: The South Aisle running the length
of the Nave, broken in the centre by the Porch and
piers of the Tower. Outside you must cut 0" the
elongated spire and replace it by a short squat spire
of pyramidal design. Thus the appearance outside
would be the gradually sloping roof in one piece,
covering the Nave and the South Aisle. The Tower
standing prominent and well in front of the South
Aisle walls, together with the beautiful doorways,
windows and other distinctly late Norman features.
The whole edifice forming a gem set in the most
delightful surroundings. I

Objects of interest to be seen in the Church are :—

Nicely carved old Dutch screen of the 16th century,
at the West end. The Commandments have been
put in as panels. In former times placed behind the
Altar.

Two beautifully carved oak chairs, ancient, and
after the style of Charles II. period, in the Chancel.

Above articles presented by. the Marchioness
Conyngharn.
Font: Modern, with figures round the bowl

and inscribed: “ Sufier little children to come unto
Me,” etc. ; no date.

9

Organ: Small, sweet-toned one manual instrument,
stops added and restored.

Pulpit: Nicely carved piece of oak woodwork
on stone base.

Lectern 2 Plain oak with carved front.
The Church is central heated.

The Communion Plate is of silver, hearing date
1717.

Historical Notes.

Proof is given that Patrixbourne was inhabited
at a very early period by the fact that an extensive
Saxon Cemetery was explored and many interesting
things found by the Kent Archaeological Society

‘during the years l866—l868. This cemetery is

situated on the East side of the road from Bridge to
Patrixbourne, some 200 yards distant from the great
Roman Road to Dover. Also on the high ground
opposite the Church.

In 1317 the Latin form of the name Patrixbourne
was written as Bourne Patricii, from which it is inferred
the owner of the Manor at this time had borne the
name Patrick. Previous to this the name was simply
Bourne, meaning a stream : the Nailbourne, an
intermittent stream flows through this part of the
parish, near the Church.

In 1254 the Church was served from the Priory
of Augustinian Canons at Beaulieu, Normandy.
In 1258 it was arranged for the Church to be served
from the Priory of Merton, in Surrey. The Priory
of Beaulieu retained possession of the Manor until
1410 when it was alienated to Merton Priory.

The Says and the Cheneys were Manorial Lords
here from the 12th to the 16th century, and the family
of Isaak possessed the Hode Estate. In 1450 Sir
John Cheney and John Isaak, “ Arminger of Patrix-
bourne,” joined Jack Cade’s insurrection. The Manor
of Patrixbourne, for the most part now called