LOCAL HERITAGE
QUALITY CONTROL The project has brought together surveyors, stonemasons and engineers
the various beasties that protrude from the steeple sides. But, as Matthew explains as he leads me up the metal staircase from one scaffolding level to the next, one or two Victorian architectural decisions have proved less than ideal in the long term. Firstly, there’s the choice of stone. Everything that lies above the base course of Casterton stone and plinth of Ancaster stone is made of Bath stone from Combe Down – a beautiful material, but sadly much inclined to erosion. Soft and porous, it’s easy to carve, but when subjected to the elements, including acid rain and both modern and historic air pollution (such as that of the Industrial Revolution, during which time the church was built), it can erode, crumble and discolour. It also forms thick, black crusts that struck me as resembling a sort of anti-lichen, building up in the eyes and mouths of the face-pulling grotesques and enhancing their menacing intent. It’s this layer of pollution that is also responsible for giving the church its nickname – the black church.
The foundation stone was laid by Bishop Riddell of Northampton on 30 June 1887 and the finished building consecrated in October 1890. The grand opening was a momentous occasion attended by bishops from across England and Wales. Up close and personal The imposing design and intricate stonework are jaw-droppingly impressive, especially when you are face-to-face with
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