THE MISSENDENS
It was a May Saturday in 2024, and we were making our way towards the Missendens, Little and Great, with these being our third and fourth churches of the day. This Buckinghamshire crawl had started with a trip over the border in to Hertfordshire; visiting an artisan bakery on Berkhamstead street market which we try to visit three or four times a year.
From there the crawl had started properly at Chesham, before moving on to Amersham. The church of St John the Baptist at Little Missenden can be found some three miles to the west of Amersham.
Taking stock of the purchases from the bakery, things were not looking good. The cheese straws were a pleasant memory; as was the bacon and cheese slice. An eye was already being cast to one of the sausage rolls and the second sausage rolls; optimistically scheduled for Sunday lunch would be lucky to survive the day!
LITTLE MISSENDEN : CHURCH OF ST JOHN THE BAPTIST
Church Post Code HP7 0RA
Open to visitors
Visited May 2024
Little Missenden stands in the Misbourne Valley’ with the River Misbourne running off to the north. This is a pleasing village, with its charms being used in several TV series or films over the years. The village appeared in episodes of Midsomer Murders and Little Missenden became the village of Blandley in the 1963 film Nurse on Wheels, which starred Juliet Mills.
There was no church or priest mentioned here at the time of the Domesday Survey in 1086, which is curious as the church here dates back to around 975AD; the church notice board proudly proclaiming that this is a 10th century church. A further note advised of cream teas in the church grounds the following Sunday. We are 84 miles from home and, no matter how tempting it was, a round trip of 170 odd miles for a jam filled scone and a cuppa couldn’t be justified.
The church itself can be found alongside the main road which runs through the village, at the western end of the village. The church that we see today consists of west tower, nave with north and south aisles, south porch, north chapel and chancel.
The original church consisted of west tower, nave with north and south doors and chancel. Aisles were added with the south aisle coming first in around 1120 with the north aisle following some 20 years later. The north chapel was added between 1180 and 1220 with arches added to allow access to the chapel from the chancel and the east end of the north aisle. During the mid 14th century the south aisle was widened and the walls were raised. At the same point the original Saxon south doorway was replaced.
There was much rebuilding here during the second half of the 15th century. At that point the tower was restored, the floor of the nave raised and the height of the wall of the north aisle was also raised. At the same time the south porch was added and a single dormer window added to the south allowing light to fall upon the rood in pre Reformation days.
Looking at the church from the south, the west tower is battlemented and buttressed, with large octagonal battlemented stair turret rising up above the height of the tower, slightly offset from the south east corner of the tower. The church clock looks out from the south face. The nave is short and is of red brick and rubble; with two wide single light windows to the south, which date from the 18th century. The single dormer window mentioned earlier all that there is in the way of a clerestory.
The south porch is timber framed; the chancel is short and rendered, with three narrow lancet windows to the south.
There are six bells in the ring here and it is suggested that King John, who was a regular visitor to the parish, donated two bells to the church here. Two of the bells are of great age and interest. The oldest of the ring is 14th century; cast by J Rufford of Toddington in Bedfordshire. He was a founder active between the years of 1350 and 1380, with his business starting just after the Black Death had decimated the country. One other bell in the ring here bears the Brede Mark from a London founder from around 1480.
The church was open to visitors. It was a fairly dull day and the absence of clerestory windows, plus the large amount of stained glass meant that it was fairly dark inside. However, lights had been left on and the visitor was immediately greeted by a large wall painting of St Christopher carrying the Christ Child, which was beautifully spotlit; but more of the wall paintings later.
There are two bay arcades to north and south with substantial piers, which run almost seamlessly in to semi circular arches.
There is much stained glass here, with several windows courtesy of Heaton Butler and Bayne with all dating from the early 1880’s. The east chancel window is of three lights and shows Jesus as the Lamb of God central, flanked by an Angel of the Lord appearing to the Shepherds and the reinstatement of Peter; the script ‘Feed My Sheep’ included below.
At the east end of the south aisle we have another three light window from the same maker. This one is of Faith Hope and Charity. As usual Faith is shown with a processional cross, Hope is depicted with an anchor and Charity, with the word charity replaced by love in many modern Bible translations, show with two young children. Charity is central given its importance, with 1 Corinthians Chapter 13 verse 13 reading ‘And now abide faith, hope, love, these three; but the greatest of these is love’.
The east window of the north chapel, again by Heaton Butler and Bayne depicts the Parable of the Good Samaritan, with the Samaritan tending to the wounds of the stricken Jew; supposedly his bitter enemy, whilst the Priest and Levite each walk by looking pious but ignoring the plight of their countryman.
There are two windows to the south wall of the nave, each of which demonstrates the spreading of the Gospel, the Great Commission, with script on one of these windows reading Go ye in to the world and spread the Gospel’. Christ in Majesty is central on one of the windows, with the disciples sent out in two’s heading off in every direction. Peter, who carries the keys to the Kingdom of Heaven, and St Paul who as normal is shown with receding hairline and sword pointing downwards. Several scenes are included including the stoning of Stephen and various saints who helped to evangelise Great Britain such as St Patrick who is shown approaching Ireland and St Columba who spread Christianity from Ireland to Scotland.
At the foot of this window are a crowd of characters all of whom spread the Gospel. Some are well known such as John Wesley and William Wilberforce; others less so such as Mary Bird who pioneered Christian mission to Iranian women. These figures flank a central image, which h is a Trinity Shield.
This is a diagram which was often used to explain the concept of the trinity. It consists of four nodes. The three outer nodes would have been labelled with the elements of the trinity “Father” “Son” and “Holy Spirit”. The inner node would have been labelled “God”. Six lines connect the nodes and these lines would have been marked either “is” or “is not” Twelve statements can be made as follows…
The Father is God" "The Son is God" "The Holy Spirit is God" "God is the Father" "God is the Son" "God is the Holy Spirit" "The Father is not the Son" "The Father is not the Holy Spirit" "The Son is not the Father" "The Son is not the Holy Spirit" "The Holy Spirit is not the Father" "The Holy Spirit is not the Son"
It’s companion window also has Christ in Majesty central, with the script ‘I am with you always even until the end of the world’. At the foot of this window we see peoples of all races with the Agnus Dei, the Lamb of God between. These two were each made by the AK Nicholson studios, who in total created seven windows for this church.
When first entering this church, the visitor is struck by the sheer number of wall paintings here. As always, thoughts turn to what things must have been like in churches such as these in pre reformation days. Brightly coloured paintings on the walls, a rood screen depicting the crucifixion stretched out across the top of the chancel arch. In addition we could think of the sights, the sounds and the smells of a vibrant parish church.
The wall paintings here were started around 1200 and were painted over. They were discovered in 1931 by the Vicar of the day and were carefully uncovered. It became evident that there had been an earlier attempt to uncover the paintings with several being badly damaged in the process then lime washed back over again.
The visitor is greeted by a very large depiction of St Christopher carrying the Christ Child across a river, which is in its traditional position on the north wall of the nave, opposite the south doorway.
To the east of the St Christopher on the north wall of the nave is a series of paintings detailing the life of St Catherine. One of these shows her being scourged; tortured by the Emperor Maxentius who persecuted Christians.
The most interesting shows Catherine about to be martyred on a spiked breaking wheel. This immediately shattered as she touched it and the depiction is fascinating. The Emperor Maxentius is seated on a throne carrying a sword. His head is turned away from the scene in front of him and he is portrayed with his tongue sticking out. Catherine stands alongside the wheel, which has just shattered with several in the crows of onlookers being hit by parts of the cross. Catherine was finally beheaded and this is also the subject of a further painting; which is very in distinct.
Over the chancel arch are two sections of a Doom painting; which were discovered quite recently. A doom will portray the scene of the Day of Judgement when all will be judged; with those deemed righteous being taken off to Heaven but those who are condemned being taken off to hell. Those that are condemned are often depicted naked and tied up, herded towards hell by demons with hell itself often depicted as a giant serpent’s mouth.
Jesus would be central at the top, often sitting on a rainbow, with Mary the Mother of Jesus and John alongside.
Just two sections remain; the first being a row of heads, both male and female. The males have long flowing hair and the females wear headdresses. Due to the fact that these figures appear on the left hand side of the scene, with one character having her hands raised in prayer, indicates that these are those waiting to be taken up to Heaven. The only other section that survives is a row of seven trumpets far off to the left, which refers to the seven trumpets blown by the seven angels in Revelation Chapter eight.
Several of the paintings are indistinct but it was interesting to see a seated figure blowing a trumpet, with his dog sitting alongside him. There was also a section where a dado strip of a repeated design has many Christian crosses scratched underneath it.
GREAT MISSENDEN : CHURCH OF ST PETER & ST PAUL
Church Post Code HP16 0QS
Open to visitors
We moved on a little under three miles to the North West, to Great Missenden and the church of St Peter & St Paul. Great Missenden was very prosperous in the past; being strategically placed on a major route connecting London with the Midlands with several coaching inns to cater for those making the journey. An Augustinian monastery was founded here in 1133, which was dissolved in 1538. A new house, called Missenden Abbey was built in the grounds in 1574, which incorporated parts of the ruins. This was gutted by fire but rebuilt, functioning today as a wedding venue and conference centre. They also do afternoon teas in luxurious, select surroundings; and I would no doubt lower the tone of the place should I care to, or be able to afford to, go there.
The town recorded a population of 10,103 at the time of the 2021 census; driving through the pleasant town centre on this Saturday lunchtime, we were interested in seeing a museum devoted to Roald Dahl, who lived in the town until his death in 1990 and who is buried in the church grounds to the north of the church
The church itself stands fairly isolated on high ground to the south east. There was no church or priest mentioned here at the time of the Domesday Survey but there was mention of a church here at the time that the Abbey was founded in 1133.
Arriving at the church of St Peter & St Paul we parked up and immediately something caught our eye off to the south. Wandering over to take a look we were amused to find that this was a bug hotel which also had its own dedication: to St Beetle & St Crawl!
The original church here would have been a basic structure of nave and chancel but the church was built up over time with most of the present structure dating from the 14th and 15th centuries with restoration and rebuilding during the 16th and 18th centuries, with periods of late Victorian restoration.
The church that we see today consists of west tower, nave with north and south aisles and clerestories, north chapel, south chapel, north and south porches, north vestry and chancel. The west tower is very substantial and was extended to the south during the 16th century to allow for a new belfry to accommodate five large bells from the dissolved Missenden Abbey. It is suggested that materials from the abbey were used in this rebuilding.
Looking at the tower from the west it is possible to see how the tower has been extended to the south. The windows and west door are offset to the north as a result of the extension whereas the three light belfry windows are central; possibly indicating that this stage was added after the tower was extended.
Today there are eight bells in the ring with the oldest being cast in 1603 by Joseph Carter of Reading, a seldom seen founder, who also added a bell in the same year at neighbouring Little Missenden.
The walls of the nave were heightened during the 15th century to allow for the clerestory windows, which would have let more light in to the church. Looking at the church from the north, the clerestory stage is rendered; with the clerestory consisting of five two light windows with intricate tracery. The visitor enters in through the north porch, which dates from the late Victorian period of restoration.
The church was open to visitors, with the clerestory windows doing their job; it was bright and welcoming inside despite it being a dull day. This is a church of impressive proportions with four bay arcades to north and south with clustered pillars and capitals. The magnificent arch braced roof stands out against the whitewashed walls and ceiling.
​
Moving to the chancel, the east window here is of five lights and dates from 1850; made by prolific stained glass artist William Wailes. On the middle three lights we see banners running down, each with a Biblical inscription, with that central reading ‘I am the resurrection and the life’. These are flanked by angels, who again hold banners, with script which reads ‘Blessed are the dead who die in the Lord even so says the spirit for they rest from their labours’.
There are bright geometric shapes throughout and up in the tracery, ten angels play harps; the Holy Spirit in the form of the sun’s rays shining down on them.
Another window from Wailes can be seen on the south wall of the chancel. This is of four lights with the central two lights having depictions of the nativity; with the Baby Jesus in manger surrounded by a golden pulsating aureole and the ascension, with the Risen Christ who is dressed in a symbolically blood red cloak, arms outstretched with wounds visible in hands feet and side.
The chancel itself dates from the 13th to 14th centuries and is impressive in stature. Two large recesses flank the high altar, which contain images of St Peter to the north, who holds the keys to the kingdom of Heaven and St Paul, with downturned sword can be seen to the south. The reredos is of oak, with several coats of arms and roundels of the Agnes Dei, the Lamb of God and the Holy Spirit descending in the form of a dove.
The sedilia, against the south wall is in the form of a stone bench, which has been covered and is doubtless much more comfortable than would have been the case in pre reformation days. The piscina, in which the Holy Vessels used during the Mass would have been washed, has an ogee headed arch and higher up on the north wall is a series of richly decorated blind arches.
At the east end of the north aisle we have a large squint, which would allow a person in that area to see what was going on at the high alter as the Mass was progressing.
In the south aisle we have a three light design from AK Nicholson, who also provided windows for Little Missenden. This one is of three lights and we see from left to right St Luke, who was a doctor who wrote one of the Gospels. He holds open a book, on which is written the opening words to the Nunc Dimitis, the Song of Simeon, which appears in Luke’s Gospel.
Central we see the Madonna and child, with Mary who is dressed in her traditional blue, holding Lilies which were an often used symbol of purity. The right hand light shows a depiction of St Christopher carrying the Christ child across a river.
In the north transept we see a window courtesy of Jones and Willis of Birmingham, dated to 1914. This three light design has Jesus surrounded by children, with the script ‘Suffer the little children to come unto me’. This is flanked by ‘I am the light of the world’ and ‘I am the Good Shepherd’. Against the south wall of the north transept is the faded remains of a wall painting, enclosed with a recess.
After finding the final resting place of Roald Dahl we headed back to the car and planned the rest of the afternoon. In fact there was no real set plan; the intention being to set off in the direction of the Bedfordshire county line, taking in a few places at random after doing a bit of Google research and just enjoy what was turning in to a very decent churchcrawl in a fine county. To be fair, a plan had been made; the second sausage roll was not going to survive the journey!