Jellinge to the Jacobean

St. Andrew’s church at Haughton-le-Skerne is the oldest in Darlington and probably stands on the site of a previous Saxon Church. The church is essentially Norman and has a collection of early medieval carved stones.

I walked up to the porch, it was locked, my heart sank, I walked around to the west door, a big smile, not only an open door but a beautiful plain Norman arch and tympanum.

On entering the church things just got better, I was given a very warm welcome into the church by two lovely attendants who were sat in the baptistry on either side of this handsome font. The original font has gone but the beautiful Frosterly Marble base survives. We had a chat about this and that and I was shown around the church then left to wander.

In the nave there are a number of early medieval stones that have been built into the walls. The stones were found during the 1895 restoration. One of the carvings (bottom picture) stands out as being exceptionally good.

This piece establishes that the best carving from this site occurs with the most purely Scandinavian ornament. The ribbon animal panel on A is closely linked in style with Sockburn 8 and should date from an early stage after the introduction of the Jellinge-type style. It is possible that this piece was carved elsewhere, since it is the only piece from the site in this stone.

Another simple arch and plain tympanum leads into the porch and more remnants of carved stones including some knotwork and fragments of cross slabs. A blackbird has made its nest on a shelf, she watches me but does not move.

Back in the nave, the amount of 17th century woodwork is quite overwhelming. I’m told that this style is known as ‘Cosin woodwork’ named after Bishop Cosin of Durham. This style is unique to County Durham and is now quite rare. Nikolaus Pevsner dates the woodwork to the 1630’s and writes that ‘the church gives a very complete picture of that date.’

The chancel arch is Norman, its single-step simplicity reflects the entrance and porch arches. Below the arch on the left of the picture is a squint or ‘hagioscope’ designed as a viewing point between the nave and the chancel. Below the arch on the right side is a niche with the remains of an original pre-reformation fresco painting. This niche may have housed a statue of the Virgin Mary.

Displayed on a shelf in the south transept are a number of sheets of lead. These were removed from the tower roof. All date to the eighteenth century, three are outlines of shoes, one is a hand and another is an etching of a fully-rigged ship. All of the sheets are initialled, presumably by the craftsmen who repaired the roof at various times.

I would encourage you to visit this beautiful church. This Grade one listed church is warm and welcoming and proudly displays its rich history and heritage. The church is open for visitors every Wednesday 10am-4pm June til November.

Sources

The Buildings of England. County Durham. Nikolas Pevsner. 1953. Penguin Books.

Visitors booklet – available within the church.

The Corpus of Anglo Saxon Stone Sculpture.

St. Martin’s Church Kirklevington

The church at Kirklevington has been in existence since the early medieval period. The chancel is Medieval, the rest of the church was rebuilt during the nineteenth century. Many ancients stones were found during the rebuilding of the church and have been incorporated into the fabric of the church.

Inside the porch is the entrance arch to the church. The two orders are a bit of a hodge-podge of weathered stones. There are spirals carved onto the capitals and one has a carving of intertwined serpents which is quite hard to make out.

The Chancel Arch is much more satisfying. The left hand capital is beautifully carved with a man’s head, stars and spirals. Beside the capital is the carving of a lion. The capital on the right side is carved with a headless bird, beside it is a rather damaged carving that has been interpreted as an ox. There is a lovely booklet available at the church which informs us that these carving represent the four evangelists, Mark (lion), Mathew (the head), John (the bird), Luke (the ox).

There are quite a few Cross Slabs within the church. Cross slabs are difficult to date as they were used from the eleventh to the seventeenth century.

There are a number of stones embedded in the external walls including six chevroned stones which may have once formed part of an arch. I’m guessing these were left over from the rebuilding of the doorway arch.

This beautiful door handle is a nod to the ancient origins of the church.

A number of ancient carved stones were discovered during the rebuilding of the church. Many of the ancient cross fragments have been removed from the church and are currently being stored at the Preston Hall Museum, a few are on display. The stone below is part of a cross shaft and is probably my favourite local medieval stone. It is thought to depict the Norse god Odin and his two ravens Huginn and Muninn (thought and mind). Odin’s ravens would fly out into the world and report what they saw to Odin.

Why is Odin depicted on a christian cross?

The early medieval period was a time of transition from the Pagan religions of northern Europe to Christianity. Nothing was straightforward, Pagan kings would succeed Christian Kings and the Christian church itself was split between two traditions, the celtic church and the church of Rome.

It may seem odd to us to see pagan imagery on a Christian cross shaft but the people of the early medieval period would have recognised and understood this imagery. Odin would have been a familiar figure to not only the people of Scandinavian descent but also to people who’s ancestors had travelled to our area from northern Europe.

Odin was known in the Anglo Saxon world as Woden, perhaps Woden was also worshipped in our islands prior to the arrival of the Anglo Saxons. During the Roman occupation of Britain, the majority of the Roman army was comprised of Auxiliaries. These units were manned by soldiers from territories that had fallen to Roman conquest. The majority of the Auxiliaries in our islands were composed of men from northern Europe, lands where Woden was a primary deity.

The Roman tradition was not to suppress the local belief in the gods of the lands they were conquering, they would associate local gods with Roman gods who possessed similar attributes, Woden/Odin was associated with the god Mercury because of his role on guiding the dead to the afterlife. The Roman historian Tacitus wrote that the Northern European tribes worshipped Mercury. Wednesday (Wodin’s Day) is known in Latin as Mercurii dies (‘Day of Mercury’).

This carving has been interpreted as portraying the god Mercury, is in the church at Aldborough, the church is said to have been built on the site of a Roman shrine.

It’s an interesting aside to look at Odin and Jesus. Given the evidence, it is fairly safe to assume that Odin may have originated in an older, shamanic-based belief system, if we detach ourselves from our christian assumptions we may also see similar shamanic elements in the life of Jesus.

In becoming a shaman there is generally a requirement for a ritual death and rebirth. Odin achieved this by hanging himself on a tree, Jesus was hung on a cross and then descended into the underworld before being reborn. Whilst on the tree, Odin pierced himself with his spear, whilst Jesus was on the cross he too was pierced with a spear.

Shamans are generally wanderers who undertake spirit journeys, Odin famously wandered in search of enlightenment, Jesus wandered with his small group of followers throughout his later life, the bible records his forty day solo journey into the Sinai desert without food or water. Both Jesus and Odin possessed the ability to speak to and raise the dead, Odin using his magic, Jesus by miraculous means, magic by a different name?

Perhaps the people of the past saw these similarities too. The early Christian church was very different to the church of today, the early Christian world was a place of mystics, demons, miracles, monks and local saints, many of who may have previously followed a pagan tradition.

Odin is thought to have hung himself on Yggdrasil, the world tree. The Pagans of northern Europe also had a world tree, Irminsul. These trees may have had their origins in the shamanic tradition where they symbolised the shaman’s journey between realms. Perhaps the cross represented the same idea to the early christians, an axis between the realms of heaven, earth and the underworld.

Resources

Anglian & Anglo-Danish Sculpture in the North Riding of Yorkshire. W.G. Collingwood. YAJ Vol.19. 1907

Yorkshire A Gazetteer of Anglo-Saxon & Viking Sites. G Points. 2007

Romanesque Yorkshire. Yorkshire Archaeological Society Occasional Paper No.9 Rita Wood. 2012

Archaeological Trail. St Martin’s Church. Kirklevington. A pamphlet available from the church.

Yggdrasil Image – Oluf Bagge, Public domain, via Wikimedia Commons

Thanks to Gary & Kate for arranging access to their lovely church.

Crossing Peg Powler’s beat

The section of road from Girsby to Over Dinsdale is marked on the OS map as ‘Roman Road’. During the 18th century Gainford Antiquarian, John Cade, studied the Roman Roads of the north and theorised that a Roman road ran from the Humber estuary to the River Tyne. Cade thought that the road may have been an extension of Ryknild or Ickneild Street, a road that ran from Gloucestershire to South Yorkshire. Cade placed the crossing point of the Tees at Sockbridge. The Roman Road became known and is still referred to Cade’s Road.

In the 1920’s Archaeologist OGS Crawford took a look at the area and thought that the crossing point of the was more likely be Middleton One Row at the site of a medieval bridge known as Pountey’s Bridge. A reliable late nineteenth century source reported timber piles and abutments being visible at the site. An earlier report states that a large number of squared Stones being found in the river.

Recent work by the Mid Tees Research Project has discredited Crawford’s theory and moved the search for Cade’s crossing eastwards to a bend in the Tees close to Newsham, where at least three separate river crossings once existed.

The modern road leads to the bridge over the Tees at Low Dinsdale. The bridge was originally built in 1850 by the Surtees family and operated as a toll bridge. In 1955 the bridge was taken over by the North Riding County Council and the original trussed iron beams were replaced with steel beams rolled at the Cargo Fleet Iron Works, a concrete deck was cast then over the beams. The bridge was further upgraded in 1993.

In the churchyard of St John the Baptist at Low Dinsdale is the lower portion of an eleventh century cross shaft. The shaft is carved on all four faces but quite weathered. There are other carved stones within the church but this church is always locked when I visit.

Sources

Bridges over the Tees. The Cleveland Industrial Archaeologist. Research report No. 7 C. H. Morris. 2000

Mid Tees Research Project

Archaeologia, or miscellaneous tracts relating to antiquity Vol.7

The Corpus of Anglo-Saxon Stone Sculpture

Map Extract reproduced with the permission of the National Library of Scotland

Sinnington

I arrived at the church just as the warden was leaving she told me that she had just opened up the church and showed me the key, it was about a foot long with a shaft as thick as my thumb.

I’m going to have a little rant now.

The churches I have visited over the past few days have all been open and welcoming but many that I visit are not, they are locked and covered in signs warning thieves to beware. I am aware that theft from churches is a real problem in some areas, I am also aware that church attendance is dwindling rapidly.

Churches are primarily places of worship, I do not subscribe to any religion but I do get a sense of tranquil otherworldliness when I visit a beautiful old church. These institutions are also custodians of our history and culture. Their walls reflect the history of our islands and our communities, to deny people access to these spaces can only perpetuate the decline of these institutions. I’m not sure what the solution to this problem is but I know that locking a church up for six days a week does not help anyone and can only foster a feeling of exclusion in the wider population.

The church and the village pub are both in decline in many areas, William Blake offered a solution in his poem The Little Vagabond.

Dear Mother, dear Mother, the Church is cold,
But the Ale-house is healthy & pleasant & warm;
Besides I can tell where I am use’d well,
Such usage in heaven will never do well.
*
 But if at the Church they would give us some Ale.
And a pleasant fire, our souls to regale;
We’d sing and we’d pray, all the live-long day;
Nor ever once wish from the Church to stray,
*
 Then the Parson might preach & drink & sing.
And we’d be as happy as birds in the spring:
And modest dame Lurch, who is always at Church,
Would not have bandy children nor fasting nor birch.
*
And God like a father rejoicing to see,
His children as pleasant and happy as he:
Would have no more quarrel with the Devil or the Barrel
But kiss him & give him both drink and apparel.
*
There are lots of carved stones both inside and outside of this beautiful church, here are a few.

Sinnington

This carving has been interpreted as a Jelling bound dragon.

Sinnington vi

This small inconsequential stone, carved with a crude cross, measures about 10cm square. It is known as a consecration cross and indicates a place where the wall of the church was touched with holy oil during the consecration of the church. There are a number of other small crude crosses carved on the external walls particularly around the original entrance, which is now blocked and filled with a number of carved stones.

Sinnington i

 

A lovely pair cross heads built into the exterior walls

 

The Loki Stone – Kirkby Stephen Parish Church

Loki

This beautiful stone is thought to date from the Tenth century, it was found in 1847 during a restoration of the chancel (see comments).  The local tradition is that the stone depicts the Norse god Loki. The Norse sagas tell of Loki being bound with the entrails of his son and tormented by a serpent that dripped venom onto his face.

Hound Man

This wonderful carving is probably Norman in origin. It is depicts two hounds and a human figure. No-one really knows what it is supposed to symbolise.

Hound Man i

Knotwork

A Tenth Century cross shaft

animals

A Tenth to Eleventh century shaft fragment depicting three crudely drawn animals.