Palladian geometry
Coming along the main village street of Glynde, past cottages and an almost absurdly quaint smithy with horseshoe-shaped doorway, there is an abrupt change of gear when you reach St Mary’s church, a Palladian structure of the 1760s, which itself acts as a kind of prelude to the cupola-topped Georgian stables of the big house, Glynde Place, just a little further beyond. The west front of St Mary’s is all triangles and semi-circles. It would be a rather severe exercise in Palladian geometry, but its small size tempers the severity and gives it charm.
The architect was an amateur, Sir Thomas Robinson, and he made good use of flint for the main walls and neat ashlar for the porch and the triangular pediments. Like virtually every church architect using this kind of classical architecture, Robinson found no real solution to the problem of combining a “classical temple” frontage with a bell turret. So the turret looks a bit odd atop the pediment, but its triangular top and semi-circular arch echo the triangles and arches below, giving the design some consistency.
The charm continues inside, with an interior full of box pews that features a wooden west gallery and other Georgian furnishings. Best of all is the plasterwork around the east window, with its rosettes set in octagons. This is a lovely touch and isn’t quite spoiled by the stained glass by Kempe, in a sort of Renaissance revival style of the 1890s, which would look better in a Victorian church. But even it includes semi-circles and triangles, continuing the geometrical theme and maintaining a certain harmony.
