Othery, Somerset

Confusion

If I’d been a member of what was called in my youth the Boy Scouts, perhaps I’d be more mindful of their once much quoted motto: ‘Be prepared’. As it is, I am quite capable of being unprepared to the extent of not putting the relevant volume of Pevsner’s Buildings of England series in the car when I set off on a trip. I made this very omission when going to Somerset the other day. The trip was not concerned primarily with observing or exploring buildings, but wherever I go, architectural observation is inclined to take over, and so it was when, with time on my hands, I stopped to look at the church in the village of Othery, set on the Somerset levels. The building, at least, didn’t seen difficult to grasp: a cruciform church with a tall central tower, not as flashy as many in Somerset but with attractive openings in the upper stage where the bells are and below that some statues in niches – Christ enthrones and Saint Mary, Saint John, and Saint Michael, to whom the church is dedicated.

But when I got inside, the furnishing got me baffled. Other church contains a striking collection of wooden benches with carved ends. Carved bench ends are speciality in Somerset. Some churches have outstanding ones, dating from the 14th to the 16th centuries, carved with depictions of symbols, animals, plants, saints, even satirical depictions. Anyone who likes church woodwork should visit Somerset.* Othery has some excellent bench ends, but they struck me as varying somewhat in style. Some looked medieval, some exhibited a certain formality or treatment of details that made me wonder if they were Victorian reproductions. Some were carved with vigour and had slight and not disagreeable roughnesses of surface, some were much smoother. In the end I abandoned speculation and enjoyed the carving for the visual feast it offered – multiple portrayals of foliage, tracery, curious beasts, King David playing his harp, grapes on the vine, a saint or two. The latter include more than one depiction of St Michael the Archangel dispatching the devil, who takes the shape of a dragon.

Back home, with the Pevsner Somerset: South and West volume in front of me, I read: ‘BENCHES. A confusing collection because of the interventions of the antiquary William Stradling of Cholton Polden in 1848–50. Some are C15–C16…Many are Victorian…by William Halliday, Stradling’s carpenter. Stradling copied originals, including some with small figures (St. Margaret, St Michael) that seem of separate provenance.’ In other words the church contains original medieval carvings by at least two differing and distinguishable hands, as well as Victorian ones by Stradling. An article in the useful essay collection, Pews, Benches & Chairs† agrees, and points to the image of St Michael in my photograph above as one of the medieval originals (there’s a contrasting Victorian one, below, with a much more detailed, scalier dragon). There’s just enough detail in the medieval one: the saint’s angelic form standing astride the creature’s back, the dragon’s neck curving upwards to suggest that it still has life in it, but not much strength, the canopy with its crocketed finials topping the image and filling the available space above. It’s a slightly naïve bit of work, but there’s still much to like about it. What I take to be the later version is much more artful.The devil is part dragon (with a tail that curves beautifully) and part human (with torso, head, and arms). The saint’s sword is poised; his wings fill the space above artfully; much work has been put into capturing the drapery of his clothes. There’s a lot of action in this carving. I wouldn’t want to express a preference for one over the other. It’s good that the church has them both.

- - - - -

* See, for example, an earlier post, here, about bench ends at Brent Knoll.

† Trevor Cooper and Sarah Brown (eds), Pews, Benches & Chairs (Ecclesiological Society, 2011)