GAMLINGAY : CHURCH OF ST MARY THE VIRGIN
Church Post Code SG19 3JJ
Open to visitors
Visited May 2023
It was a fine sunny afternoon in May 2023, and a day’s churchcrawling along the area of the Cambridgeshire/Bedfordshire border. Come mid afternoon we had arrived at the church of St Mary the Virgin at Gamlingay. This was a return visit; having previously visited here with David in June of 2015.
It was quite late on a Sunday afternoon on that original visit and the church was open, with people present setting up for a service later that day. The people were friendly and welcoming and we took a look around; but much of the exterior was covered in scaffolding and it was always the intention to pop back one day. Churchcrawling is a quiet hobby for the most part, but not that afternoon when, for a brief time the quietness of that Sunday afternoon was shattered as the Red Arrows went over.
This is a large village which recorded a population of getting on for 3,000 at the time of the 2021 census which can be found some 14 miles to the south west of Cambridge. The Bedfordshire border is close by to the south with Bedford itself around 14 miles to the west.
It is thought that there was a settlement here from the Iron Age. The village was mentioned in the Domesday Survey in 1086 but there was no mention of a church or priest here at that time. Interestingly there was a quarry within the village from which the carstone, from which the church was built, was quarried. In 1600 the ‘Great Fire of Gamlingay’ destroyed much of the village.
The church of St Mary the Virgin stands towards the east of the village, on the junction of Church Lane and Church Street. There is a pleasant scene for those entering from the west with this attractive carstone church alongside the Wheatsheaf public house.
As mentioned there was no church or priest recorded here at the time of the Domesday Survey and the church that we see today dates back to the 13th century, with extensive rebuilding during the 14th and 15th centuries. The present structure consists of west tower, nave with north and south aisles and clerestories, north and south porches, north and south transepts and chancel.
There was a tower here at the time of the 13th century church but the tower that we see today is part of the rebuilding and is of three stages and is battlemented with church clock facing out from the west face, over what appears to be the site of a previous window; with stair turret to the north east. A recessed leaded spike rises up. The visitor enters through the north porch which is of two storeys. The lower storey dates from the 14th century with the upper room added the following century.
Gargoyles surround the tower, including one who appeared less than happy at having two white doves preening on him. One other beast leans out from the tower, regarding what is going on around them through cavernous eye sockets. A blackened figure cries out in anguish.
Lower down we see figures at the label stops of the windows. A small dog with a happy expression appears pleased to see the onlooker; more so than the beast close by whose lichen encrusted tongue is exposed in gesture of insult. Close by we see a male figure with impressive moustache and more impressive long flowing beard. A human head on the south porch is virtually weathered away to nothing.
The clerestory, which is very difficult to see from ground level (I need a drone sometimes) dates from the 15th century. The chancel is long; the transepts are substantial and the church is battlemented throughout. This is a very pleasing exterior; which was photographed on a glorious afternoon.
When JJ Raven saw his study of the church bells in Cambridgeshire published in 1868 there were five bells in the ring here, with details as follows. The first three were cast by Miles Graye in 1653, with these probably the work of Miles Graye III who was an itinerant founder with the bells being cast on a temporary site within the parish or possibly even in the church grounds. The fourth was cast by Richard Chandler III of Drayton Parslow in Buckinghamshire with the fifth another from Graye, again dated 1653, with this one having the names George Bury and Steven Apthorpe, who were the church wardens of the day.
The situation today has altered with there now being eight bells in the ring. A new first second and third bell were cast by the Whitechapel Bellfoundry in 2000 with the third and fourth of the ring in Raven’s time being recast by John Warner & Sons of Cripplegate London in 1897.
The church was open to visitors; moving inside it was bright and welcoming, with a very pleasing light quality. Walls are whitewashed and there is no stained glass to the south of the nave which helps in that respect. . The work of the Victorian restorers can be seen throughout with the church being thoroughly restored in 1880.
There are five bay arcades to north and south, each dating to the 13th century, with octagonal piers and capitals. High up to either side of the chancel arch are small stained glass windows which contain depictions of the four Gospel writers; these dating from the 1880 restoration.
A quick look at the east end of the north aisle shows a squint, which allows someone kneeling there to be able to view the high altar in the chancel. The east end of the south aisle is panelled, with this panelling wrapping around a medieval piscina.
Moving in to the chancel, the sedilia, the seating for the priests during the Mass, is in its traditional position against the south wall of the chancel, this consisting of three seats with each seat under a decorated ogee arch. The medieval piscina is alongside.
The east window is of five lights and is courtesy of Morris & Son of London. Central is the Risen Christ in majesty; crowned with one hand raised in blessing and carrying a globe. Light pulsates out from him forming a cross and he is surrounded by the four symbols associated with the Gospel writers.
Christ is flanked by Mary the mother of Jesus, who wears her tradition blue robe. She is situated at Christ’s right hand, the left hand side as we look at it; Jewish custom stating that the right hand side is the place of honour. John the Baptist is situated to Christ’s left hand side.
In turn these are also flanked by several other figures. To our left we see King David playing his harp and Moses with commandments stone. To our right we see Noah with Dove perched on his hand and Elijah. These characters are surrounded by an angel host of angels playing harps.
Below this we see a mix of characters. St George is shown with the flag of St George, St Agnes carries a lamb and St Augustine of Hippo holds a flaming heart. Central we have Peter, who holds the keys to the kingdom of Heaven along with St John and what I think is St James. St Catherine is crowned and carries a cross whilst St Mary Magdalene, with her long flowing hair, carries a jar of spices which was to finish anointing Jesus’ body in the tomb.
At the foot of this window we have smaller scenes, all of which show people at worship. One of these caught my eye; this showing a veiled woman, in mourning, with three children. She holds a baby, with two older golden haired girls each at prayer. The woman looks shattered, weighed down with her responsibilities. Matthew Chapter 11 verse 28 reads ‘Come to me, all you who are weary and burdened, and I will give you rest’.
There is some interesting graffiti here which includes a couple of daisy wheel, or hexafoil marks. These are designs of a six sides petal, like many of us would have drawn at school using a compass. Some say that these are a ritual protection mark, with evil spirits being attracted in to the design and away from the people; others state that they are purely secular in use, being examples of geometric exercises for apprentices.
Close by is a pentagram, a five pointed star, which today is associated with the occult. When this was carved though, it would have been a Christian symbol symbolising the five wounds of Christ.
We also see a finely carved cross and a much damaged inscription which has the name Brian and the wording ‘Limed Window’; interestingly we could see here a tradesman leaving his mark after doing some of work on a window at the church. John Coley left his mark herein a manner which could not be described as understated, his full name scratched in a long hand, in a mixture of small and capital letters. A date of 1620 something can be seen below (really difficult to read) could be attached to this.
A wall monument shows the skull and crossed bones; each a memento mori symbol, which reminds the onlooker that Man is mortal and will die. Therefore live a good Christian life, trust in God and do not be caught short when your own time comes. In days of low life expectancy it could be later than you think! There are also a couple of darts shown here as well, symbolising that the death here may have come swiftly and unexpectedly.
A banner below reads RESURGAM’, this is a Latin word which translates as ‘I shall arise again’; this being a testament as to the faith of the deceased. The font is 13th century with an octagonal bowl supported on a central shaft with smaller supporting shafts surrounding it.
The church grounds are well maintained but there is nothing of any great interest or rarity amongst the gravestones. However, the base of the churchyard cross which can be found to the south of the church and the wall of the church grounds each have their own Grade II Listing.
It was good to revisit and to see the church without scaffolding. Open and welcoming; with much to keep the visitors occupied, this church is well worth taking a look at if you are in the area. If you are planning a visit here you might wish to take a look at the church of St Mary at Potton, three miles or so to the south west, which is normally open to visitors and which has the most fabulously carved gravestones. A page for that church can be found on this site.