A Parish Church does not just appear overnight. In its shape, and contents it bears witness to the lives and work of people throughout the ages. Here in this Church, the people of Wolsingham of yesterday, meet those of today and together make their contribution to the future.

The key to the understanding of the life and history of the Parish is found in the dedication of the Church. St. Mary was a favourite dedication of the Anglo-Saxons. As such, Wolsingham shares it with Durham Cathedral, built about the same time. St. Stephen, on the other hand, was popular with the Normans. Stephen was a favourite with the Prince Bishops, who hunted the deer in Weardale, and hawked the heron on the banks of the Waskerley. As Wolsingham became the administrative centre of the Dale as well as a Market Town, it grew in importance, and the combined dedication shows how the Anglo-Saxon and Norman elements gradually gave way to the English of today.

The first recorded Christian place of worship in Wolsingham was the cell of Aelric, the hermit, at Holywell. In 1106 or 1124 he was joined by St. Godric. Together they established a small Christian community.

Shortly afterwards a small wooden Church was erected on the site of the present Church, for use of the Prince Bishops during the Weardale hunt, for which Wolsingham was the centre. About 1150, with approval of the Prior and Convent of Durham, certain land was granted to the Monastery of Newminster. The Boldon Book of 1183 however, suggests that the Parish Church remained as such, as it speaks of William the priest and his son James following the Anglo-Saxon tradition, before the reforms of Langfranc, one of which enforced celibacy on the clergy.

Since then, as Wolsingham grew and expanded, further Churches, and alterations took place on the same site, each a little larger and different from the last. The builders would also use and incorporate the same precious material of stone and lead, adding their own contribution.

Towards the end of the 12^th Century, the nave of a second Church replaced that of an earlier one. The Church roof was embattled in Tudor times and a new lead roof built.

In the 18^th century when Wolsingham was a wealthy Parish, further alterations took place. In 1710, the square headed clerestory windows on both the North and South sides were built and can still be seen.

In 1848-49 the Church was practically rebuilt in the 'Early English' style which was so popular with the followers of the Gothic revival. The remarkable fact was that the designs were left to a local man who was not an architect, but who did build some of the houses in nearby Church Lane. This was William Nicholson, whose family was associated with the Church and parish life for over a hundred years.

The design follows the stereotyped pattern of the day whilst incorporating parts of the previous building, including many of the memorials. Nicholson retained the original arcades of the nave. He also removed the Norman doorway from behind the gallery at the West end to its present position between the tower and the vestry. The shafts of the doorway however, had to be renewed. In addition to this a bay was added to the nave to give further space. The galleries, so loved by the 18^th century, on the North side and West end were removed and the tower arch opened out. North and South aisles were added, divided from the nave by four pointed arches. These rest upon cylindrical pillars with circular caps and nail ornamentation. The original arcades of the nave were retained. A new and enlarged chancel was built with its graceful arch, and unusual East window.

Whereas most East windows follow the 'Perpendicular' design for space and light, here is found the 'Early English' lancet design. This has meant that instead of the usual Victorian stained glass window of the Crucifixion, the whole theme of the Passion, ending with the Resurrection has taken its place.

The Clerestory also now contained four double lancet lights on either side, and the same lancet shaped windows were added to the aisles.

In 1856 the Tower was heightened by 18 feet and strengthened to enable a new peal of three bells to be installed and used. Further additions were made in 1895 when carved oak benches, solid in appearance, in contrast to the 18^th century chairs in the Sanctuary (the gift of the Hon. John Grey), were installed. The Sanctuary and Chancel floors were re-laid with Frosterley marble and marble mosaic.

At this time Frosterley marble was being transported all over the world for churches and other buildings. It was first used in the beautiful Nine Altar chapel in Durham Cathedral. In 1896 the Baptistry was built at the Southwest corner and at the same time the Nave was re-seated with the present oak benches in contrast to the pitch pine ones so beloved of the Victorians. The final addition was in 1913, when the present Rector's vestry was added, so that the original vestry could be used as part of the organ loft. It is interesting to note that in 1848, to mark the new 'improvements' in the Gothic style, the Church had been dedicated to St. Matthew, in the wrong assumption that it had been so called during the Middle Ages.

In 1896 when the Baptistry, the entrance into the Church, was built, Bishop Wescott restored the ancient dedication to St. Mary and St. Stephen to remind people of the Church's life and witness over the years - not a new beginning but an ancient Church.

To appreciate the Church and indulge in some detective work, visitors should begin on the outside by examining the Tower.

Starting at the West end one immediately notices the difference in stonework, in masonry, colour and style. Each period can be clearly seen.

The oldest part of the Tower is the bottom half, built in the vernacular style of local 'dun-post' stone from Redgate quarry. It is Norman work of Anglo-Saxon style, the long and short, probably being hidden by the more recent buttresses and base levels, added when the Tower was heightened. It was at that time that the lancet window, in the 'Early English' style, replaced the original West door.

The original Tower, squat and square, can easily be seen, with a clear dividing mark made visible by different stonework and masonry. Here the vernacular gives way to more formal and linear stonework. Fortunately some of the original windows, now blocked up, still remain. Above this can be seen the additions of 1848, with the final 18 feet of 1856 at the top.

On the Southern face of the Tower one notices the clock of 1856, and the alterations made at that time. On the East side is clearly visible the mark of the old roof. This indicates the existence of a nave without a clerestory and also probably without aisles.

The formal walls of the Victorian Church shows much has been lost in the rebuilding, of which the Victorians were so fond, rather than in the complete restoration of the ancient mediaeval and 18^th century Church. Here one can see, almost side by side, figures from the ancient Church with Victorian copies which lack feel and the craftsmanship.

Upon entering the Church, to the left, is the Baptistry, a gift of Thomas Espinell Espin, Chancellor of the Diocese of Chester and Rector of Wolsingham 1885-1912.

The original font of Frosterley marble is now in St. Bartholomew's Church, Thornley Village, originally a 'Chapel of Ease' from Wolsingham. It was replaced by the present simple font, with slender shafts, in the early English style. (Given by a friend of the Hon. J Grey).

The most noticeable feature however, is the beautiful and simple stained glass window depicting Jacob's ladder. This is in the style of 'The Arts and Crafts Movement' and is attributed to Henry Holiday. The Reredos to the right of the font was carved by A.N.Simpson of Kendall. The painting above is 'The Raising of Lazarus' by an unknown artist.

Under the Tower, as the doorway to the choir vestry, can be seen the original Norman doorway, one of the glories of the Church. When it was carefully removed new shafts had to be added to the original work.

On the arch leading into the Nave is an example of ancient and modern. On the southern side is an original carving, whilst on the north, one carved at the time the arch was built. One of the old 18^th century memorials with an excellent example of the lettering of the period, can also bee seen on the southern wall.

In the Northwest corner of the Church is a list of Rectors from the 13^th century. From it may be seen how the Parish progressed over the past 750 years. It shows how surnames came into existence and how they began. It shows how Norman names gradually gave way to English ones. It also reminds us of the occupation of County Durham by the Scottish army and of the attempt to abolish the Church during the Commonwealth.

Above this is a memorial tablet from the 18^th century Church to the Rev. Peter Ionn, one of many Curate-Headmasters of the Grammar School. Peter Ion was famed for the fact that he introduced navigation among the subjects that he taught. His daughter became the first woman teacher of navigation in the country, teaching sailors of the post Nelson era in London.

From here can be traced the rebuilding of the Church, with the added Arcade and new Chancel marked by its great arch. Here can be seen the use of the old pillars and the building of the new and also the spaciousness of the Church with its sense of length, breadth and height.

The stained glass windows, although of Victorian times, are the work of craftsmen and of a high standard and quality, especially the unusual one at the East end. They are all memorials to various Wolsingham families who played such a large part in the life of the town during the 19^th century. The memorial tablets on the wall, some of which were preserved from the 18^th century Church, also depict the history of the Parish in terms of people and their lives.

The 18^th century Bishop's chair in the Sanctuary is a normal household chair given by the Hon. John Grey, who also gave the beautiful communion plate of 18^th century design and make.

For a Parish Church the organ is of good quality and tone and contains some interesting features. The woodwork is plain and simple, but of good solid oak and made by craftsmen. An earlier example of local craftsmanship is the ancient 'alms box' from the previous Church on the pillar at the back of the Church.

A recent addition in 2005 is the portable font, made of oak by Robert Wilthew of Frosterley.

The ancient churchyard which surrounds the Church has one of the finest collections of ancient tombstones in the country. It was only in the late 17^th and early 18^th centuries that outside tombstones were first introduced.

Here in Wolsingham there are some fine examples from 1650, 1672, 1683 and 1697. Among these is a 'table monument' to Mrs Anne Craggs, who died in 1672.

There are numerous ones from the 18^th century showing the evolution of lettering from the simple vernacular of the 18^th century to the more formalised of the late Victorian era.

Here can also be seen examples of table, and linen-chest tombstones also an early iron one (now within the Church) as well as a variety of stones from local stone to highly polished marble.

Among the tombs are those of the Ionn family and also Charles Attwood, the founder of the Steel and Iron Works in the Dale.

Written by Canon J.G.Bates

[Rector 1980-1984]

(Amended 2008)