Friday, June 18, 2021

Little Comberton, Worcestershire


Reading the entry in the (excellent) Pevsner volume on Worcestershire did not make me especially keen to visit the church at Little Comberton, a village I’ve passed through several times. But the other day we paused in the village anyway, and although the church was locked, found several things of interest. This is a buidling that was heavily restored in the Victorian period by an architect called William White.* White was not in the front rank of Victorian church architects, but was prolific: some 250 church projects are attributed to him, and he also designed many parsonages and schools. Like other more famous Victorians (Butterfield and Teulon, for example) he was interested in the architectural use of colour, and this is reflected here in the bands of dark red stone used around windows, up buttresses, and in quoins.

My photograph shows a tiny window in the Norman style, a partial replacement by White of an original Norman window. Even this small opening shows the effect of contrast produced by the different coloured masonry, laid out symmetrically. But at the top, symmetry is broken and White preserved the original Norman stone that forms the rounded head of the window, complete with the band of cable ornament that runs around it. If the result is more Victorian than medieval, it could be seen as an effective compromise, which preserves the most ‘artistic’ part of the old window, while renewing the remainder in a way that fits in with the style of the other windows in the restored church.

It’s also revealing about 19th-century attitudes to restoration. Literally, ‘to restore’ means to put something back, to return the building to the state it was in when it was new, or at some other ‘ideal’ time in its past. In practice, the Victorians often used restoration as a way of ‘improving’ churches, of making them more ‘correctly’ Gothic or ‘properly’ Romanesque than the often hybrid or mongrel or unevenly proportioned buildings that the Middle Ages in practice produced. Victorian architects were also of course at pains to make ancient buildings suitable for 19th-century worship, which would also mean architectural and decorative changes. Here, this fragment of 12th century carved ornament shows that White did not want to sweep away everything, that he was happy to respect the art and craft of his ancient predecessors while also introducing a different visual approach, which was very much his own.

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* William, White (1825–1990) was great nephew of the naturalist Gilbert White.


Hels said...

Were restorations overseen by a central authority? Who had the final say about what could be done and what was unacceptable?

Joseph Biddulph (Publisher) said...

We might also notice that the Romanesque work seems to be in some sort of pale Cotswold limestone, just like early carved work at Deerhurst and other places. Some of this material may have been unobtainable by Victorian times?