The culmination of The Light Ships project will happen in November 2014 in three events to celebrate the place of art in the life of the village and the church at:
Whaplode Church – Saturday 8 November
Wrangle Church – Saturday 22 November
Gosberton Church – Saturday 29 November
Each event will be from 2.00pm until 4.30pm,with the book launch at about 3.00pm
In addition to the presentation of The Light Ships book, there will be
An exhibition of art inspired by Lincolnshire churches
Archive films of Boston and the fenland villages
Tea, coffee and cake – and a chance to meet other people who’ve been involved
Each weekend will have special features: at Wrangle Church a peal will be rung to celebrate the 300th anniversary of the bells, while at Gosberton there will be a Christmas Tree Festival organised by the community. Others special moments are being planned as I write…
If you can’t come on Saturday afternoon, the exhibitions will be open from 10am to 4.00pm on the Saturday and Sunday of each weekend.
The events will be informal and everyone is welcome – bring a friend, spread the word.
If you’re able to be there, a phone call or email would be really helpful so we can organize the right number of cakes! You can let Lauren know at Transported on:
But that’s not essential: the important thing is to come and help us celebrate these wonderful buildings and the place they’ve held in our villages for hundreds of years. Click on the picture below to download the invitation to your computer.
Now, it’s back to the proofreading – the final text goes to the printers on Monday…
Church flower festivals, which are such a beautiful aspect of life in the Lincolnshire fenlands mostly take place in the spring. But one or two cannily wait until later in the year and Whaplode is one of those. If you have some time this weekend, do try to get there. As well as the flowers, there’s an organ recital, bell ringing, live music, teas, a hog roast and much more – all at one of the most beautiful, interesting churches in the Fens.
It’s the kind of celebration that has been going in churches and churchyards for hundreds of years: a community coming together to celebrate being who they are. 2014 is the 50th anniversary of the Whaplode Flower Festival – Long may it continue.
Rupert Brooke, The Old Vicarage, Grantchester (1912)
Although written long before anyone knew the Great War was coming, and in a lighter tone than the poetry he would write when it did, Rupert Brooke’s evocation from abroad of life in an English village is endlessly poignant. We do, after all, know what came in 1914.
Rupert Brooke died in 1915 on a hospital ship in the Aegean Sea. He was 27 years old. By then, his poetry was both successful and closely associated with the war. His sonnets, The Dead and The Soldier, – ‘If I should die, think only this of me’ – had caught something of the spirit of sacrificial heroism that had inspired young men from all over England to volunteer in the summer of 1914.
Among them were scores of farm labourers, tradesmen and other young men from the Fens, who joined the Lincolnshire Regiment and fought on the Western Front. Many of them, far more than anyone imagined on 4 August 1914, never came back. The lost were remembered by their parents, sisters and former comrades in the parish church, where so many other lives, and so many historical crises, had also left their mark.
The poetry of the First World War is closely linked in the English imagination with the experience of industrial warfare. No other war has left such a trace in our literature. Today, one hundred years after the entry of Great Britain into the Great War, let the words of another fine poet, Laurence Binyon, mark the day, as they have so often in Remembrance Services in each one of these churches:
They shall grow not old, as we that are left grow old:
In 1914, Macmillan & Co published the latest in their successful series of topographical books on England. Highways and Byways in Lincolnshire was written by a retired Hampshire Headmaster, Willingham Franklin Rawlings, and illustrated with pencil drawings by Frederick L. Griggs. It was a handsome volume, over 500 pages of rich text about the county, with – as usual in Lincolnshire – much attention given to the ancient churches.
Griggs’ drawings, even allowing for the limits of available print technology, are very fine. Although he contributed illustrations for a number of similar books, Fred Griggs (1876 –1938) was far more than a jobbing artist. He studied at the Slade and was associated with the Arts and Crafts movement. He made an important contribution to English etching and has been described as ‘the most important etcher who followed in the Samuel Palmer tradition’.
And, like Edwin Smith, John Piper and so many other 20th century artists drawn to the subject of churches, his work was firmly within the English neo-romantic tradition. Here are his drawings of fenland churches as reproduced, on the eve of the First World War, in Highways and Byways in Lincolnshire.
Gedney Church, Frederick L. Griggs, 1914
Boston Church from the N.E,, Frederick L. Griggs, 1914
Cowbit stands just 10 feet above sea level, protected from the Welland floodplain known as Cowbit Wash by a huge earthwork called, appropriately enough, Barrier Bank.
This photo, taken from the drained land below the Bank – famously used for ice-skating contests on frozen floodwaters – gives an indication of the scale of the fenland drainage works. Cowbit church tower does not dominate the landscape here. Sunk into the earth over the centuries – see how far below the road is the 15th century tower door – it peeps humbly over the protective bank that has kept building and people safe from floods and similar acts of God.
In 1856, the First Series of the Ordnance Survey mapped Cowbit, the Wash and the surrounding area. Not so much has changed in the subsequent 160 years, and the map nicely shows the relationship of river, land and fen, the little village holding to the bank where it has been so long.
In 1947, a cameraman for British Pathé shot this unused film of what happens when the dykes are overwhelmed.
‘Because the land is level it need not be supposed that it is ugly; on the contrary there is a charm in the expansiveness of the landscapes which the natives sadly miss when they are obliged to live in a hilly country where the horizon is always close at hand and the sky is much limited. To the visitor, as a rule, it is the great cloudscapes and the vastness of the dome of heaven of the Fens which makes the greatest appeal, for one is able to see the most astonishing groupings of shadow-filled cumulus clouds when the wind is bringing the great creamy-white masses across the deep azure of the zenith.’
Gordon Home, Through the Chilterns to the Fens (1925)
These four heads hold up the roof of Cowbit church, above the altar. They are probably the oldest carved stones in the building and they didn’t start out where they are now, though they were always made to support a roof, probably for a church built in the 1100s. They are crudely made – at least in comparison with the skillful carving you can see at, say, Pinchbeck – but they are full of life. Their wild, untamed faces, seem either threatening or fearful.
They speak of an older world, far more insecure than ours, where suffering and death could strike from a blue sky, without understandable cause and therefore without the possibility of mitigation. In such times, the church’s protection must have seemed a vital defence against the randomness of life.
These heads belong in Cowbit church. As sculptures in a white-walled museum, surrounded by unrelated treasures, they would be prisoners of an alien culture. It’s good to see them where they have always been, rooted in the place they were made, their eyes meeting the descendants of those who made them.
From Samuel Pepys to Alan Bennett, Britain has produced many celebrated diarists. Although John Byng is less well-known than some of these, his writing is not less enjoyable. Between 1781 and 1794, he spent his summers riding through Britain, recording his experiences. What I like about him, apart from his gift with words and companionable interest in what goes on around him, is that he knows that there are wonders everywhere. When other aristocrats wandered round Italy on the Grand Tour, Byng preferred to explore the byways of his native country, celebrating the landscapes, buildings and treasures we have stopped seeing because they are familiar.
And so, in July 1790, John Byng’s horse took him to the Lincolnshire fenlands, whose flatness he greatly appreciated:
‘Nothing can form an happier contrast with my late, hilly, stony Derbyshire ride than this flat of fine roads; for there is not a stone to counteract fancy or overturn a castle in the air.I had to observe the richness of the soil and its happy produce, till I view’d the grand remains of Crowland Abbey […] Nothing can be more noble, more Gothic or more elegantly carved than the front (now tottering) of Crowland Abbey, a beauty of the richest workmanship. My eyes gloried in beholding, whilst my heart sickened at the destruction. This, my guide said, was owing to Oliver Cromwell. There are five bells in the steeple, which is built for long endurance; but the present church, an aisle of the old one, has been pillaged, like Thorney, to the very bone; not the smallest remains of stained glass, monuments, or anything ancient except a grand holy water recess. […] Of the great eight southern windows, four have been lately taken down, for fear that they should fall down; […] The front is so seamed by rents that down it must soon come; the finest monument in the kingdom: and would I were near it then (not too near) to save and carry off some of the carved figures.’
Byng went on his way but was not so impressed by the next church he encountered:
‘My road soon brought me to the village of Cowbit, whose miserable little thatched church I walked around. Soon after, being overtaken by a storm of rain, I hurried into a shed which I occupied for half an hour, unnoticed.’
He liked Spalding much better – ‘a large, clean, well-built, Dutch-like, canall’d town’ – where he visited Col. Johnson, ‘a very old, worn-out man’, at Ayscoughfee Hall, finding ‘many good pictures of esteem’d masters; but all in disorder and decay, like the owner’. The next day he rode on early towards Pinchbeck:
‘I had not ridden a mile ere an horrid storm approach’d, which urged me to gallop Pony furiously to the village of Pinchbeck […] and to the Bell alehouse, which I had scarcely enter’d when the clouds broke there fell one of the heaviest storms of rain, with repeated thunder and lightning, that I ever remember. Thomas Bush remained with the horses whilst I sat with the landlady in the parlour; though she pressed me to go into the kitchen to keep company with their clergyman, who she said was ‘a fine learned man’ but so addicted to drink as to have wasted all his money, and now could not live out of an alehouse, where he would accept a glass of gin from anyone, to keep himself drunk. I did go in and saw him sitting before the fire, smoking his pipe.’
With this sad account of the Rev. Charles Townsend Jr., who died the same year, Byng went on to Boston, where he ‘supp’d on boil’d soles’. The next day was
‘A fresh, fair morning, wherein I took a pleasant hour’s walk before breakfast; admiring with all my eyes, and a strain’d neck, the beauty, grandeur and loftiness of the tower of Boston church, a building of most wonderful workmanship. Within, tho’ large, I recollected nothing (peeping thro’ the windows) that met my love of antiquity.’
It was Saturday, so he enjoyed the market and talking to fishermen on the river before wandering as far as Hussey Tower, setting off again after lunch towards Holbeach where he found his supper after admiring the musical tone of the church bells. Indeed, music seems to have a point of local pride, for his waiter told him
‘That the church music and singing were good, but did not advise me to stay the services tomorrow, as their poor curate who has so many children had but a bad delivery (his wife beats him in that). As for the rector of this rich living, he never was here but when presented to it.’
And so, on Sunday, 4 July 1790, John Byng took to his horse once more without attending the curate’s morning service, riding through Gedney and Long Sutton (‘a large, straggling, well-built village’) before passing out of Lincolnshire and out of this story, leaving us only his curious, distinctive opinion of the sights he had seen.
Almost 150 years ago, when the Rev. John Marius Wilson published his Imperial Gazetteer of England and Wales, this is how he saw the parish of Cowbit:
COWBIT, a village and a parish in Spalding district, Lincoln.
The village stands near the Welland navigation and the March and Spalding railway, 3 ½ miles SSE of Spalding, and 5 NNE of Crowland; and has a post office under Spalding, and a r. station. The parish includes also Peakhill hamlet, and allotments in Pinchbeck North Fen. Acres, 4,590. Real property, £4,591. Pop., 649. Houses, 141.
The living is a vicarage in the diocese of Lincoln. Value, £625.* Patrons, Feoffees. The church was built in 1486; and has a tower with a groined roof, and an octagonal panelled font. There is a Wesleyan chapel. A school has £55 from endowment: and other charities £30.
John Marius Wilson, Imperial Gazetteer of England and Wales (1870-72)
The focus on the church and its value is perhaps not surprising in a record edited by a clergyman, but it is a useful reminder that we tend to see what we look for.
Lincolnshire’s churches have been a focus of art and community for more than a thousand years. Built by England’s finest masons and decorated by gifted craftsmen, they are treasure houses of art and sculpture, of glass, wood, metal and needlework. Their stones reverberate with the choral singing and organ music. From their towers, ancient bells peal over field and fen, as they have for centuries.
But that would not matter if the churches weren’t also where people have gathered, generation after generation, to mark the important moments of their shared life, to stop, to think and to wonder. They have seen every joy and grief, quiet happiness, anxiety and stoic resolution. They record the life of a community in parish registers, monuments, newsletters, pictures and gifts. Each one is like a ship carrying its ever changing, ever constant family across the seas of time.
A community art project for Fenland Lincolnshire
This summer, community artist François Matarasso will be exploring the church’s place in the creative and social life of 14 Fenland villages in conversations with local people.The Light Ships will celebrate every aspect of the church: fabric, furnishings and natural surroundings, of course, but no more than the memories, feelings and stories of those who are the church—the people who keep it alive, those without whom it would be just one more museum. And that includes those who never go, except perhaps for a funeral, or to whom it’s so familiar that they pass it without a thought.
Everyone with win interest in one of the villages below is welcome to contribute. If you’d like to get involved, or just to know more, please call Lauren Williams on 07747 271824 or send an email through the contact page.
A Transported Commission
François’ work is commissioned by Transported, a local programme creating new occasions to enjoy the arts in the Borough of Boston and South Holland District. The Light Ships will include these villages, which have been chosen because they have not yet had an opportunity to be involved in Transported’s arts programme;
Holbeach St. Johns
Moulton Seas End
Sutton St. James
A harvest festival of the arts
The Light Ships will culminate in publication of a short book in September 2014. The larger part of the book will be a patchwork of voices and images celebrating the fenland church and its place in cultural and community life. There will also be an essay reflecting on the complex meanings of the parish church today. Copies will be given to all the contributors and to the churches, as a small contribution to their fundraising efforts.
The book will be accompanied by a short film, portraying the churches as works of art and places of continuing creation. Book and film will be presented at a special event in early autumn – a kind of artistic harvest festival – at which everyone involved will be able to celebrate the unique place of a parish church in each community’s life, always changing, always itself.
Keeping in touch
News about on The Light Ships will appear this blog, but it will also be used to share images, texts and other reflections about the churches. Photographs, old paintings and engravings, travellers’ tales, architectural descriptions, historic notes, poems – any and all of these will be added so that over the next few months the blog becomes a rich resources of treasures, great and small, about these Fenland churches. If you’d like to be kept up to date, click on the follow button and you’ll get an email whenever there’s something new to look at or read.