Copy of an article printed in the Bristol Observer, Saturday, 21st Feburary, 1925. (10 pages – one penny) – submitted by Miss Doris J Wicks

HULLAVINGTON – A PICTURESQUE WILTSHIRE VILLAGE

Antiquities of the Church

It is indeed curious how in each county can be found villages of a certain type differing materially from those of other parts of England. Devonshire is famed for its thatched cottages, winding lanes and cosy comfort: Somerset villages are of a different type altogether, and Gloucestershire has an even further example of variety which, though perhaps not so charming as its more southern counties, nevertheless is attractive. Wiltshire again, has a type of village of its own, and that type may be personified in the little group of houses we are to study this week.

Hullavington – for such is its name – has all that a typical Wiltshire village should have. From the pretty little station set amongst firtrees the church is about three-quarters of a mile distant. Walking the winding road we pass in quick succession all the distinctions of a Moonrakers’ village. First there is the stream running down the hill and under the railway arch; next the pond by the roadside with ducks performing seemingly impossible feats with their necks – queer creatures, ducks; then the school with a peep of dusty globe and piles of papers on a cupboard top; fourthly an inn, not forgetting the open space in front for cars and traps; the forge is further on after passing many farms and houses that show unmistakable signs of Elizabethan architecture; and finally there is the church itself with the white gates of the Vicarage to its left. What more could a Moonraker want?

Situated seven miles from Chippenham and five miles from Malmesbury, Hullavington is in the latter’s district for official purposes. Its population is about 550, and amongst that number are Mr and Mrs Ernest Warland, who have within the last fortnight celebrated their diamond wedding. Apart from the church there is very little of exceptional interest in the village. The farms would provide interesting study to the architecturally minded, for several of them date back to Elizabethan times. One building in particular is attractive. It is situated by the railway station upon the crown of a hill, and is the largest farm house in the parish. At one time it was in a separate parish known as Bradfield, but at some time or other it became incorporated with Hullavington. It was then Bradfield Manor House, but today it goes by the name of Bradfield Farm. What connection it has with the church is not exactly known, but to this day the Lady Chapel is known as Bradfield Chapel.

The history of the church of St Mary is interesting reading. At present it is a stone building consisting of a chancel, nave and two side aisles. From the outside it is conspicuous because of its embattled western tower which contains two bells. This part of the building was rebuilt in 1880, nine years after the remainder of the church. It has a commanding gateway leading from the road, it having been erected in memory of Mrs Meredith Brown, who resided in Hullavington in the latter part of the 19th century. On the outside wall of the church is an old sundial.

The history of the church goes hand in hand with the history of the county through its passages of turmoil and strife. Sir Roger de Mortimer was the founder of the Priory of St Victor at Caux in Northern France. His son, Sir Ralph, came over with William the Conqueror and as a reward for his services was given the ancient Manor of Hullavington with other places. He, being a pious son of the church, endowed the priory of which his father was the founder and handed to it the patronage of the living of the Wiltshire village. Therefore, the list of past vicars starts, as far back as can be traced, with Matheus, Prior de Hundlavyngton in 1297.

In 1344 the king took over the patronage, and his name appears at irregular intervals until 1440. At about this time several appointments were made by Johanna, the second wife of Henry IV, and daughter of Charles of Navarre. She had no children and was very unpopular, introducing foreign favourites to the English Court. She became Regent during the time that Henry V was fighting in the French wars, and during her Regency she twice presented to the Hullavington benefice. After Agincourt she was arrested for sorcery and imprisoned in a castle for 15 years until her death. In 1444 the living was first presented to Eton College by Henry VI who took it away from the Priory of St Victor and gave the profits towards the endowment of the foundation of that College. Today Eton are the landlords and patrons of the living. The present vicar is the Rev Edward Glanville Mortimer who, it is interesting to note, claims descent from the original founder of St Victor’s Priory. From ancient registers he has traced the list of past vicars and patrons, which shows the interesting variation of the spelling of the name of the village through the ages. In 1297 it is spelt Hundlavyngton and as time goes on the spelling becomes in turn, Hunlavynton, Hunlavyngton, Hundlavyngton, Hundelavington, Hunlavyngton, Hullavyngton and, in 1512, Hullavington.

The interior of the church is of great interest. Its general appearance is unlike that of other country ecclesiastical buildings. The wall of the left bay leans outward, but during the recent restoration it was butressed from the outside to ensure its safety. It is in this bay that the most signs of antiquity are visible, for in restoring the nave, which is the oldest part of the building, its chief antiquaran interest was taken away. There are several pictures around the walls representing such masterpieces as “The Last Supper”, “Gethsemane”, and “In the Workshop of Nazareth”. The lighting is by oil lamps. The solidly built font in the left bay is of unusual design, and its dwarf supporting pillars are of alternate stone and marble. The old wooden roof beams are still visible in the left by although replaced by modern woodwork in the rest of the church. By the bell tower is a tablet to the memory of the same Maria Meredith Brown previously referred to and which was erected by the parishoners. Several old mural tablets are to be seen, including one to the memory of the sons of Oliver Ivie, who married Anne Finet, one of the daughters of Sir John Finet, Knight Master of Ceremonies to King Charles I. An old tomb is in the Lady chapel bearing a curious epitaph. The organ is a very good instrument, which was given by the late Mr Meredith Brown in memory of his wife. In front of it is a remarkable screen of metal, which is ornamented with a carving representing the sacrifice of Isaac by Abraham. A ram is seen caught in a bush on the left of the group, while on the right is an angel appearing out of the clouds. The sacrificial knife has been unfortunately broken off, and the origin of the screen is still somewhat of a mystery. The decorative scheme of the old church was at one time composed of fleur-de-lys, and traces of this pattern may be seen on the Transition Norman arches and columns. There is no stained glass in the church, but in some of the excellent examples of Early English windows which with Purbeck marble shafts are in the left bay, there are a few dozen small diamond-shaped panes with the fleru-de-lys design upon them. The original stained glass was destroyed by orders of Cromwell, and – a curious point not without its ironical side – it is said that a memorial to the man who actually performed that work of destruction is to be seen in Frome church!

Up to 1918 there was a unique rood screen across the front of the Lady Chapel. It was one of three remaining examples of such work which retained the old balcony front to the rood-loft. The lower portion was of late 13th century or early 14th century date, while the upper part was of the 15th century. It was taken down because it was unsafe, although there was a great deal of controversy at the time as to whether or not it could be repaired. The vicar, acting upon the advice of the Society for the Protection of Ancient Buildings, has consulted an Oxford architect, who has drawn up plans for the restoration of such pieces of the old screen as remain. The estimated cost of the reconstruction work is £150, and the scheme is held up for lack of funds. It is indeed a pity that such a small amount should stand in the way of the preservation of such an historical piece of ecclesiastical carving. At present its place is taken by a dwarf oak screen which, with a tablet on the wall of the Lady Chapel, was erected to immortalise the men of the parish who laid down their lives in the great war.

Another notable article at present preserved in a frame in the church is a piece of old tapestry thought to be at least 400 years old. It was originally a cope and has been used as a pulpit cloth. It has a background of brown satin, upon which is stitched various designs worked in gold, silver and other coloured threads. In the centre is a representation of the Crucifixion with an angel on each side receiving the blood in a chalice. Fleur-de-lys again play an important part in the decorative scheme of the tapestry. There is a screen before the chancel in place of an old one that previously stood  there, and it is thought that fragments of the original one went to make up the present construction. During the restoration the masonry over this screen was knocked away, together with its painted coat of arms, and now it gives a clear view of the gold, crimson and purple altar.

There are also Baptist and Primitive Methodist Chapels in the Village.

This article supplied by Janice Tiley