Lancashire

Churches

A complete priory church begun c.1189, with a unique tower

The Priory Church of St Mary & St Michael has been described as the medieval jewel among Lancashire churches. It dominates the village of Cartmel, its great grey bulk seeming out of place in such a small settlement. However, it does give the onlooker of today an indication of the way in which the early churches must have overshadowed their surroundings.

The building was begun in c.1189 by William Marshall who later became Earl of Pembroke and Regent of England. It was established as a priory of Canons Regular of the order of St Augustine, with the first monks coming from a priory in Bradenstoke in Wiltshire. Interestingly, Marshall stipulated that the foundation should remain a priory, and never be elevated to an abbey. Of the domestic buildings none remain except the gatehouse.

The oldest parts of the priory are the chancel, transepts, the south doorway, and part of the north wall of the nave. They are of the period when the Norman style was becoming Early English - what is often called the Transitional period. The south doorway exemplifies this style: it has three orders of detached shafts with capitals moving towards stiff-leaf, and a rounded arch with "V" shaped moulding. In the chancel the two-bay arcades also have round arches, with similar motifs, and crocketing/stiff leaf. The arcade piers and the crossing piers are heavy with multiple shafts. Some have capitals that are left uncarved: others have leaves, crockets or knots. Above these arcades is a clearly Early English triforium of pointed arches on shafts. Also pointed are the arches from the transepts into the chancel aisles, that to the north having stiff leaf, zig-zag and lozenges. The north chancel aisle, known as the Piper Choir, has quadripartite rib vaulting. It also has a piscina, indicating its former use as a chapel.

The south wall of the chancel has Early English cusped sedilia. These are cut into by the Harrington Tomb, a large monument to John Harrington, who died in 1347. This is half its original size, and has been re-sited so that it fills an archway through to the south chapel (the Town Choir). Nonetheless it is, to quote Pevsner, "one of the best of its date in England." It comprises a base with bedesmen, above which is a platform decorated with a band of flowers on which rest effigies of Lord John and his wife Joan. Over them, supported on elaborately carved posts is a canopy with an ogee arch, surmounted by a frieze with foliage and castellation. On the very top is, at one side, the Coronation of the Virgin, and, on the other Christ showing his wounds. Other figures include St Catherine, St Peter, St John Baptist, St Michael, and pleureurs. Shields, signs of the evangelists, and foliage ensure that virtually every surface is worked in carving of the highest quality. The canopy has a ceiling of painted boards showing Christ in Glory with emblems of the evangelists.

The Town Choir was enlarged to its present size in the C14. Its name may derive from its use by local people. It has windows of four and five lights with flowing tracery of the Decorated period, and sedilia with nodding ogee arches of a similar date.

The east window is a Perpendicular insertion that probably replaced one or two groups of lancets. It is massive, almost filling the east wall. The upper tracery is, apparently, made of Tadcaster stone, whilst the simpler mullions and transom below are of local stone from Quarry Flats (where most of the Priory stone originated). Three of the large lights, and sections of the upper tracery hold medieval glass pieced together from fragments recovered after its destruction. The principal figures are an archbishop, the Virgin, and St John Baptist, with subsidiary figures including St Bartholomew, St Matthew, St Andrew and St Leonard.

The crossing of Cartmel is one of its unique features. The lower part of the tower is a characteristic, if low, unbuttressed Early English structure. It is supported on the crossing piers. The upper part of the tower is a Perpendicular addition that is, most unusually, turned through forty five degrees, so that its weight is not directly above the walls below, but is instead supported on arches set diagonally in the top of the lower tower! This is probably unique in England, and is both entertaining and potentially dangerous. One can only say "potentially" because it seems to have presented no problems during the past 500 years! Looked at aesthetically the tower is too small for the building, but one can see why it was not made taller.

The north transept contains the sole remaining original lancet, as well as the blocked-up doorway to the "night stairs" which connected with the adjoining buildings. The south transept has a similar blocked door that would have allowed access to the monks' dormitory. The nave, at three-bays, is relatively short, and one wonders if it was intended to be longer. It has  simple octagonal columns and dates from the early C15. It is built to a lower standard than the rest of the Priory, and perhaps this is an indication that money was limited.

Cartmel has an excellent set of 26 choir stalls dating from about 1450. Each has a misericord, and the range of subjects across the set is typically extensive, including illustrations from the bestiaries. The west screen and stall backs were presented to the Priory by George Preston of Holker Hall. They were erected between 1618 and 1622, and probably replaced medieval backs that had been damaged following the Dissolution of 1536-37. It appears that they were made to fit with the remaining woodwork. The stalls have slender columns with Corinthian-like capitals, vine carvings wrapped around, and Instruments of the Passion. Between the columns are openwork panels with Gothic ogee arches and cusping. This curious mixture of the Classical and the Gothic seems to suggest an element of Gothic Revival (or perhaps Survival) at this date. At the west end of the nave are two painted boards of 1618. One has the Apostles' Creed with the Lord's Prayer and a representation of Aaron. The other has the Ten Commandments and a depiction of Moses.

The Priory has a good collection of medieval and Victorian glass. The south porch has the oldest - C14 - depicting angels. The medieval glass of the east window is described above. It should be noted, however, that the glass at St Anthony, Carmel Fell, probably originates from the Priory. The west window has figures in canopies throughout, and is probably by Burlison and Grylls. The best Victorian glass is the extensive collection by the Lancaster firm of Shrigley and Hunt. Two individual pieces are worthy of note. At the west end of the south aisle of the nave is a Magnificat window with a dedication of 1886. It depicts the Virgin and Elizabeth flanked by St Joseph and Zacharias. The colours are mutedly rich, the drawing beautifully detailed. The companion window at the west end of the north aisle - a Te Deum window - is of the same date, and possibly by the same artist, but is less good. However the bottom section appears to be by a different artist and is quite beautiful, having the feel of an illustration from a Book of Hours. The deep blues, reds and greens positively glow, and the stylization of the background foliage is very fine.

The Priory from the south

The transept roofs are higher than those of the chancel and nave.

The central tower

The Perpendicular upper stage is turned 45 degrees relative to the Early English tower.

View from the north west of the nave

The semi-circular arches of the chancel give way to pointed arches in the transepts and nave.

North chancel arch

The arches of the chancel exemplify the main characteristics of the Transitional Style.

Capital of chancel arch

The crocketed capitals and bolder undercutting point the way to the Early English style.

Choir stall backs 1618-1622

The early C17 woodwork has the characteristics of both the Classical and Gothic styles.

Misericord C15

One of 26 misericords, this one depicts a bearded man with a leaf and lion's head.

Medieval glass

Much Cartmel glass was lost at the Dissolution. This is now in the north chancel aisle.

The Harrington Tomb

The C14 tomb has been repositioned and cuts into the C13 sedilia.

Photographs and text © Tony Boughen