Welcome to the 14 th century church of St Andrew, Heckington. This church is regarded by leading authorities as being one of the most exceptional decorated gothic parish churches in England. This simple guide is intended to pinpoint for you the architectural and historic features inside and out that support this contention. We hope you find your visit here particularly enjoyable and worthwhile. Introduction Standing outside, near the south entrance gate to the churchyard, you become aware of two remarkable things. Firstly, the church that you see today is virtually the building seen by a young Edward III, King of England, when he came here on a summer s day in 1330 AD. Secondly, it remains a remarkable example of a mid 14 th century parish church in that it is fundamentally unaltered and complete, all of a piece. Thanks to the people of Heckington the 19 th century restorations were caringly carried out, resulting in the masterpiece you see today. 1
Viewed from this vantage point, the abundance of decoration in the Ancaster stonework is very apparent. This includes, from the left (west): the steeple soaring to nearly 186 feet displaying a wealth of elaborate architectural decoration, the entrance porch with its exceptionally beautiful gable, then the great south window with its supremely delicate tracery. Finally, the whole, terminating with the spectacular chancel at the far right (east) end. This is the building s crowning glory, both inside and out. Before going closer, it might be observed that some of the architectural features are perhaps less flamboyant than those mentioned thus far. For example, from left to right (west to east), look at the clerestory (the upper windows) above the entrance porch, and compare them with the large south window. Also, notice an undecorated buttress (a vertical support to the wall to the right of the porch) and the parapet, a horizontal feature at the top of the transept west wall. Compare this parapet with that of the chancel. It is believed by many experts that the church was completely built in those turbulent first three decades of the 14 th century, and that these plainer features indicate the earlier phase of the construction - c.1310 to c.1320 perhaps? What do you think? 2
Closer inspection: Ignoring for the moment the entrance porch, we will examine some of the 180 plus gargoyles, (roof water drainage spouts) and grotesques (other decorative images). They are all at different levels and surely the detail was, and still is, often beyond the visual range of the viewer. All of these are extraordinary examples of the 14 th century masons skills and imagination. For example, you may note: The musician, a pipe player, at the top of the first buttress immediately left of the south transept window. 3
The strange creature intertwining its tail through and around its own body. This is immediately to the left of the south window, half way up the buttress. A lovely example of a boat. High up on the last buttress on this south side. 4
Before moving on, please take time to admire the flowing tracery of the great south window. One of the two finest windows of our church. Two grotesques of particular interest are to be found at the top of two buttresses near the south window. Seemingly and curiously, both of women. The first is at the right hand (east) corner of the south transept, that is to the right of the south window. The left one of the two images at the top of the buttress is apparently a woman wearing an unusual helmet like headdress. What do you think? 5
The second is to your extreme right on the south chancel wall - the far right hand buttress - at the top of it s gable. The left one of the two images, opposite the boat, has been described as a well dressed female, a posh woman, being carried away by a demon headed dog! One suggested interpretation is that these and other similar images elsewhere in the United Kingdom, reflect an anti-feminist attitude among the priesthood of the middle ages. 6
Finally, please consider the magnificence of this east end of the church. Marvel at the elaborately carved and sculptured buttresses and soaring pinnacles, together with more of the sublimely beautiful curvilinear shape of the windows. All this surmounted by the flowing transparent tracery of the parapet. Now complete your inspection of the chancel by rounding the corner to see the exceptional great east window regarded as being one of the best of three in the United Kingdom, the others being Carlisle and Selby. Pevesner described the window as daringly articulated. Note, also to the right, the two storey sacristy, perhaps the only 14th century one to survive in the United Kingdom. The opulence of its construction and decoration is all part and parcel of the chancel. No add on here! Its architect, Potesgrave, sparing nothing for himself and his successors. 7
A biographical note is now rather important. The Architect He was, one Richard de Potesgrave, court cleric and Confessor to Kings Edward II and III of England. He came here as Rector in the year 1308-09 and it seems likely that he built the chancel and sacristy at his own expense, but was also involved in some of the earlier construction of the church with Henry Beaumont and his sister, Isabella de Vesci, cousins of Edward II. Henry Beaumont became the new Lord of the Manor of Heckington. His sister, Isabella de Vesci, had been a Lady in Waiting to Queen Eleanor of Castile and Queen Isabella. Isabella de Vesci and Potesgrave seemed to have joined forces in building some of the nave and south transept. NB. It is likely that Beaumont and Potesgrave first arrived in Heckington when the church and parts of the nave were already partly built. You may have noticed a number of empty recesses. For example, the two left and right of the entrance porch. It is not known why these are empty but one niche is complete. Namely, the one on the south wall of the tower which depicts St. John complete with his eagle symbol. Now retrace your footsteps, and consider the magnificent entrance to the church. The South Porch If this was Potesgrave s finishing touch, he and his master mason seemed determined to make an impressive statement. The beauty of the sculpturing apart, there are several interesting, if not intriguing, features to be considered. 8
Three royal shields. Lower left, that of Saint Edward the Confessor, King of England. 9
Opposite at the right, Edmund, King and Martyr of East Anglia. Atop these at the feet of Christ, the royal lions/leopards of England. A reference perhaps by Potesgrave to his patron Edward II, the last Plantagenet to adopt this insignia. Following the King s controversial death there had been suggestions in some quarters that Edward II merited sainthood. Was Potesgrave fostering here the notion of three saintly Kings, his old master among them and placing all three here at the feet of the King of Kings himself, our Lord Jesus Christ? Was Potesgrave wanting us to know of his own royal credentials? Was he wishing to impress the young King Edward III on his arrival here that summer s day? We will never know. Included in the very beautiful decorations in the gable are two other figures, perhaps a King (left) and a Queen (right)? Edward III and Philippa? If so, we see Potesgrave attempting to be very contemporary indeed. 10
Now enter the church under the original rafters of the porch roof. Inside, the Church is again entirely 14 th century - with the exception of the pews and the glass. Immediately one becomes aware of the relative simplicity of the tracery in the north aisle windows, compared to the others. This feature again suggests that this is the earlier part of the Church s construction. The beginnings of construction, prior to Potesgrave and Beaumont, may have been done by the Anglo Norman de Gant family - previous Lords of the Manor. 11
The Font Take time to inspect the intricate carvings on the font with its obvious restoration. The church would have suffered defacement during the Reformation and the Civil War period. Its empty niches echo those found on the exterior of the church. Stories of villagers recycling statues to build a wall somewhere are best left unsubstantiated! Looking from the font, the eye is drawn through the great chancel arch, which is almost 40 ft high, towards the colours in the east window. The flamboyant tracery of this great east window is best appreciated from the outside. 12
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Walking to the chancel you arrive at the sanctuary rail and the famous range of the four elaborately carved medieval stone sanctuary fitments. Here is the Founder s Tomb with its image of Richard de Potesgrave complete with his fine clerical dress and his chalice. He died c.1345 (the black death perhaps?). 14
Beyond the Sanctuary rail (more commonly known today as the Communion rail) is the Easter Sepulchre. In the medieval mass the consecrated Holy Communion bread would be kept here. This significant feature can also be seen at three other churches within 30 miles of Heckington: Hawton near Newark, Navenby and Lincoln Cathedral. 15
Two common features of all four are firstly, Roman guards resting or sleeping on their shields. Did the 14 th century mason know what Roman soldiers looked like? Secondly, the three Marys visiting the tomb, as described in the bible in St Mark s Gospel. Such is the fame of this Easter Sepulchre that in 1851 a replica was made for the Great Exhibition at London s Crystal Palace. Opposite, on the south side of the sanctuary continuing this exuberance in the mason s sculpturing is a most elaborate Double Piscina. A place where the priest washed the sacred vessels at Mass following communion. Note the drain holes, ensuring that the sacred water returned to the consecrated ground on which the church is built. 16
Now find to your right the very large three seater Sedilia which was needed when there were three priests conducting the Mass. There are two, three seater Sedilia in this village parish church which is very unusual! Light permitting, one may see inside the tops of the three seats which are detailed like the mini vaulting of a cathedral. Also very unusual. 17
Outside the front of the Sedilia and just above are four examples of medieval satire perhaps? There are three persons in the second column from the left, a woman appears to be pulling the beard of her husband, while he seems to be attempting to close her mouth. Is the middle figure a counsellor or a priest? 18
Higher still, amongst all this astonishing artistry in stone, are the central figures of Mary and Jesus, and to the right St. Catherine and her wheel. 19
The Stained Glass It is known that prior to the reformation, there was a substantial amount of medieval glass in this church. Amazingly, some fragments were rediscovered in 2015 and will be reinstated in a north transept window. Below are some examples of these exquisite medieval pieces. 20
The current very fine glass in the chancel are memorials to local personalities c.1880-1920 and describe the events of the passion, death, resurrection and ascension of Our Lord. You will find here a large framed guide describing the detail of the east window. Should you, the visitor, wish to see a summary of some of our story, look no further than the window in the south transept. Here you can see Richard de Potesgrave (in purple robes) explaining his plans for the church to Henry Lord Beaumont, who is shown as the gent with the Edwardian moustache, maybe one of the Godson family to whom this window is dedicated? Isabella de Vesci with the yellow headdress is looking on. Notice also, in the background of the window, that the chancel roof is under construction. 21
Music at St Andrew s Music has always played an important part in St Andrew s history, from the very beginning when this beautiful medieval church was first built. The musical grotesques, playing various instruments of that period such as pipe and tabor, bagpipes, whistle, harp, medieval fiddle and a number of less identifiable items, attest to this. The organ dates from 1869 and was originally in the north aisle. It was built by Charles Brindley of Sheffield and is thought to be the largest organ in a village church in England. In 1905 it was restored and moved to its present position by Messrs. Cousens, Sons & Co. from Lincoln cost 400. 22
In 1958 the swell and great reeds were replaced with an orchestral trumpet and a harmonic tromba. Having had little intervention in its life the organ has retained its integrity, its tone having been described as almost French in character, working well in the excellent acoustic of the building. In 1995, following damage by water ingress, the organ became virtually unplayable. Our Victorian organ has recently undergone extensive restoration and is now a wonderfully versatile instrument, playing its full part in the music of the church. You will encounter the new hand-built mobile organ console in the chancel. St Andrew s will once again resound with the magnificence of this organ for people to enjoy for many years to come. 23
BELLS St. Andrew s Bell Tower houses eight bells. Items recorded in early history include churchwarden s accounts relating to the bells dating back to 1573. Records from 1881 show inscriptions on the bells dating from 1633 to 1880. To this day the bells are still rung every week. Bell ringers come from far and wide to ring peals at St Andrew s and we consider ourselves very fortunate to have a team of experienced bell ringers who are also passing on their knowledge to new members. It is glorious to open one s windows and hear the pealing of the bells, particularly during joyous celebrations. Seven of the eight bells have inscriptions on them. The dates of the current bells are: Treble and Second D and C# both cast in 1880 by Mears & Stainbank of London Third B cast in 1773 by Henry Harrison of Barton on Humber Fourth A cast in 1651 by George Oldfield of Nottingham Fifth G cast in 1859 by John Warner & Sons of London Sixth F# cast in 1633 by George Oldfield of Nottingham Seventh E cast in 1824 by Thomas Mears of London Tenor D cast in 1859 by John Warner & Sons of London The oldest inscription, which is on the sixth bell, reads, WILLIAM TEAYLOR LOVES RINGING SO WELL e o 1633 POUND OF METAL HEE GAVE TO THE BELL. The tenor bell weighs 19cwt-3qr-6lbs and is 4ft 0¼ins diameter. The total weight of all eight bells is 85cwt-2qr-10lbs 24
Faces of the Church 25
Conclusion Why did these prestigious personages come to Heckington? Beaumont, Potesgrave, Isabella de Vesci and later, the King of England, Edward III. Beaumont, a royal cousin, was given the Manor and, with the King Edward II s permission, gave it to his sister, Isabella de Vesci. Potesgrave, a clerical Civil Servant of the highest rank, once given the custodianship of Leeds Castle by Edward II. Why did he come to Heckington? Edward III King of England. Might a little speculation be permitted to end this account of our church? It is known that Potesgrave was importantly involved in the funeral of King Edward II. He escorted the body from Berkeley Castle, where tradition tells us Edward met his infamous death, to Gloucester Cathedral where the King is buried. Potesgrave might well have been required to witness the dead body of the King, his late Master. Would he have seen for himself any evidence of how the King met his end, and did Edward III, the son, come to see Potesgrave in an attempt to verify the circumstances of his father s death? We do not know of course. However, what we do know is, that soon after departing Heckington, Edward s men entered the castle at Nottingham, arrested his mother Queen Isabella and Roger Mortimer, both of whom ruled England from 1327 to 1330. The latter was consigned to the executioner s block and Isabella to an enforced retirement from matters of national government. ***** Thank you for coming. Please write an entry in our Visitor Book. Before leaving, you might like to read and admire the panelled information display at the back of the church. 26
Key: 5 3 6 1: The North Aisle 2: The Font 7 3: The East Window 4 4: The Tomb of Richard de Potesgrave 8 5: The Easter Sepulchre 6: The Double Piscina 1 2 7: The Sedilia 8: The South Transept Window Acknowledgements The text of this guide is based on a commentary compiled by St Andrew s tour guide Michael Rose. The photographs and other illustrations were provided by Pete and Sue Banks. Thanks are also due to members of the Heritage Group, Parochial Church Council and congregation of St Andrew s Church, Heckington, for additional material and editorial assistance.