Elkstone, Gloucestershire

Making a rackett?

Many medieval churches have gargoyles or grotesques along the parapet and at the top of the tower. Elkstone, a Norman church with a later medieval (Perpendicular Gothic) tower has these, but there are also grotesques halfway up the corner buttresses, adding an extra element to this building’s varied adornment.* Two of these grotesques are musicians and one of these in particular provoked my curiosity. What, exactly, is the instrument that this figure is playing?

I know a little bit about medieval instruments, but not enough. One source describes the instrument as a shawm, which is an early reed instrument and ancestor of the oboe. This seems unlikely. A shawm, like most wind instruments, has a single row of holes along the body. This instrument has a double row of holes, which puzzled me. Two rows of holes in a single tube? How would that work? I asked some musician friends and various suggestions emerged. One idea was that there were actually two tubes, and that this is some kind of double flute or pipe – but the sculpture seems to have only one tube. The other was that this could be an instrument like the rackett.¶ Racketts are fat woodwind instruments with an internal tube that doubles and redoubles back on itself, allowing for a long column of air in a short space. A rackett is a reed instrument, and on some racketts the reed is visible from the outside – but not necessarily when it is being played. So I think what we have here is a depiction of a rackett.

The carving may not be totally accurate but, as one of my musician friends put it, it was probably carved by someone with poor knowledge of musical instruments. Or perhaps by someone for whom literal accuracy was not the main aim. After all, the people in medieval carvings aren’t always very realistic – literal realism was not always the goal. For example, many medieval carved musicians are angels, in which case any talk of realism has to be on a very different level. Some provincial medieval carvers probably couldn’t achieve precise accuracy anyway; others were after something else – qualities of vigour, humour, piety, whatever. If an orchestra of angels playing among the timbers of a church roof stands for harmony among the company of heaven, a human musician or two on the exterior of a church might be seen to extend that harmony into the earthly realm outside the building; or they may simply be caricatures, designed as much as anything to make the beholder smile.

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* For more on Elkstone, see this post.

¶ Or racket: the second ’t’ is optional. There are pictures of rackets here (the text is in German, but the images alone are informative) and a video clip of racketts being played here. 

Elkstone, Gloucestershire

Home thoughts, and abroad

Turning on the radio this morning I heard an announcement – between music by Stravinsky and Rossini and against a background of the various violent ways in which the world is tearing itself to pieces – that today marks the seventieth anniversary of the founding of the United Nations. It seemed to me that, although I don’t have anything new to say about that, it might be an appropriate time to recycle some text I wrote a few years ago for a website (now defunct, I think) called What England Means to Me, on which various people (writers, politicians, bigwigs, and smallwigs) were invited to set down their thoughts about that subject. Wanting to get away from the usual stuff about cricket on the village green, I wrote something about how English culture has been affected, beneficially and over long periods of time, by influences from outside these islands. It seemed to me that this theme is particularly apposite when it comes to English architecture, which wonderfully blends outside influences with local distinctiveness. To illustrate this post I could easily have used the image of Hoarwithy from my previous post, with its overtones of Italy in England. But instead I’ve used a photograph I took when showing some friends Elkstone church a few weeks ago. The picture reminds me of a very enjoyable afternoon and sums up, I think, this combination of cultures with its Norman carving and national (albeit British, not specifically English) flag.

I live in north Gloucestershire, so my home territory is bounded by the limestone villages of the Cotswolds, the market gardens of the Vale of Evesham, Herefordshire’s apple orchards, and the ‘black and white’ villages of the southern part of Warwickshire. It’s the kind of place – tranquil, rural, steeped in history – that many people think of when they think of England, and the villages of Warwickshire, with their timber-framed, thatched houses were described as ‘Unmitigated England’ by Henry James in a phrase that has been much recycled since he coined it.

The first book I read about the area, John Russell’s Shakespeare’s Country, was also alert to this quintessential Englishness. Writing during World War II, Russell knew that this was a place where one could savour England’s history and tranquillity. He also knew that the war placed these very qualities under threat, and the region associated with Shakespeare stood for the whole country that soldiers, sailors, and airmen were fighting for. Yet Russell, with the sharp eye that would make him a penetrating art critic, was also aware of the rich array of outside influences that helped shape this very English region. In Shakespeare’s area he could cite almshouses built by a Westphalian, a wool-weaving industry founded by Flemish artisans, Dutch armourers, Hungarian workers who created a glass industry, French craftsmen. Even the market gardens of Evesham were apparently started by an ambassador from Genoa.

All these contributions were part of networks of interaction stretching over hundreds of years. Slowly – these things do not happen overnight – Middle England’s industry, commerce, and society absorbed these influences, just as England’s art has benefited from all kinds of ideas from overseas. Shakespeare himself absorbed and transformed writers such as Plutarch, the Romantics devoured German philosophy and poetry, writers from Rosetti to T S Eliot were inspired by the poetry of Italy. In architecture, too, English builders have been transforming foreign styles of centuries, creating out of Norman models our own massive version of the Romanesque, out of French ideas the uniquely English Perpendicular Gothic of King’s College Chapel, out of the designs of Greeks, Romans, and Italians, new kinds of classicism. The most English of composers, Vaughan Williams, took lessons in France (he went to Ravel, he said, to acquire some ‘French polish’); our most popular drink, tea, comes via the empire from India; and if our stereotypical meal, roast beef, is local enough, it can be accompanied by red wine – and if our purse doesn’t stretch to St Emilion, we can resort to something like the curious hybrid tipple of Rumpole, Château Thames Embankment.

This island nation, in one way so isolated by the sea, has been hospitable to those who have made it across the waves and receptive to the cultures they brought with them. Norman masons, Huguenot cloth workers, those seeking asylum from Vietnam or Uganda, artists from Paris or Prague, have gained from living here, but those here already have gained from their presence too. So when I look at the typically English scene around me, I feel thankful for the diversity of culture and heritage that underlies it. The range is formidable: great Gothic ‘wool churches’, paid for by merchants whose trade made links with France or Flanders (one, Fairford, even contains stained glass made by Flemish glaziers); ruined monasteries inspired, and sometimes led, by monks from Rome or Burgundy; palatial country houses furnished with the aid of Italian tutors and guides; factories started by immigrant Jews from central Europe or British citizens from the Indian subcontinent. Quintessential England, but with links all over the world.

Elkstone, Gloucestershire

Pigeon post (2)

The 12th-century church at Elkstone, high on the Cotswolds between Cheltenham and Cirencester, is one of my favourite parish churches. I’ve posted about it before, sharing some photographs of its doorway and its interior, with its zigzag-carved chancel arch and vaulted chancel. When I went there again a couple of weeks ago during the recent snow, it occurred to me that there’s one other aspect of this church that might interest my readers, and it’s a very curious one.

My photograph of the exterior of the church shows the east end in the foreground. The small, round-headed window above the buttress is the window in the end of the chancel, above the high altar. If you look at my earlier post about the church you’ll see that the chancel interior is actually quite low. But this exterior is higher, with a second, narrower window above the round-headed one. Unusually, this little church has a room above the chancel.

Tucked in next to the chancel arch is a small door and this opens on to the narrow and very tight spiral staircase that leads to the upper room. When you get to the top you find – nest holes for pigeons. This was the priest’s pigeon loft and presumably the birds flew in and out through the narrow window, while the priest popped up the stairs when he fancied pigeon pie. It’s extraordinary. I’ve never come across a church with its own pigeon loft before.


This room has probably not always been here. In the 12th century, the church had a central tower, positioned roughly between the two large buttresses on the left-hand wall so that it separated the nave from the chancel. At some point in the Middle Ages (probably in the 13th century) this tower collapsed and the upper part of the chancel was remodelled – this would have been when the upper room was added. The lovely west tower was built in the 15th century. As is commonly the case, the story of our medieval buildings is one of evolution over the centuries, and when you look closely, things are often not quite what they seem.

Melbourne, Derbyshire

Regular readers of this blog will remember the post a couple of weeks back about the parish church at Elkstone, Gloucestershire, an attractive small church in the Norman style of the 12th century. Here’s another Norman church, but on an altogether larger scale. This is a church planned like a cathedral. There’s a grand west front with twin towers and a large entrance portal. Inside, the nave is lined by round piers and semi-circular arches, high above which are yet more arches – and all on a scale you’d normally expect in a church in a much more important town or city. The imposing effect of the architecture is enhanced with plenty of carving too – zigzags around the arches, together with a plainer moulding that gives the design a more restrained look than Elkstone. The tops of the piers have capitals with crosses, scrolls, and other designs. Elsewhere there are some interesting animal carvings, all from the 12th century.

Why did this place have such an imposing church? Apparently the place was an outpost of the bishops of Carlisle, who used to come down to south Derbyshire when the going got tough in their northern bishopric on the border with Scotland. And so visitors to Melbourne get a pleasant surprise. The church is tucked away down a side street and most people don’t find it unless they’ve come to see Melbourne Hall, the local big house, which is nearby. Those who do stumble on it discover one of the gems of English building.

Elkstone, Gloucestershire

It’s always a pleasure to come to St John’s Elkstone, which is one of the most beautiful small churches of the Cotswolds. When you enter the porch and see this carving above the south door, you know you’re in one of England's special buildings. The zigzag carving around the arch is a typical bold gesture of Norman masons working in the late-12th century. So are the tiny beakheads, a bit of grotesquery that the Normans of this part of England seem to have particularly liked. The semi-circular panel above the door depicts, in a style that’s naïve but clear, Christ in Majesty, the symbols of the Evangelists, the hand of God the Father, and the Lamb of God.

Inside, a Norman arch frames a tiny sanctuary and chancel vaulted in stone. Norman and later medieval details abound, from the carved boss at the centre of the vaulted ceiling to the tiny windows. But it’s not just the architecture that impresses here. It’s the warmth of the atmosphere. This is a building that’s been cared for for over 800 years and is still much loved today.

I can’t resist posting a photograph of one more detail though. Around the outside walls of the church are rows of corbels that display more of the fancy of the Norman carvers – heads of animals and people, abstract patterns, and coiled serpents are among the subjects. This centaur archer, copied from a medieval bestiary that gave the monks and masons their take on Classical mythology, is a personal favourite.