Audio Guided Tour
Discover the captivating history of St John’s Church, Hatherleigh, with our immersive audio-guided tour. Accompanied by supporting images, this tour brings to life the church’s unique heritage, architecture, and stories from the local community. Journey through time as you uncover the significance of this historic sacred building and its enduring legacy.
INTRODUCTION
Welcome to St John the Baptist’s Church in Hatherleigh, a place where history is woven into every stone and beam. An ancient parish church like ours is more than just a building; it’s a living testament to the lives, faith, and craftsmanship of generations past.
For centuries, each age has left its mark here, contributing to the church’s rich tapestry. But it was the late twentieth century that added one of the most dramatic chapters; On the 25th of January 1990, a fierce storm brought the mediaeval spire crashing down through the roof of the central aisle, devastating the interior and leaving St John’s Church with the unwelcome title of the most damaged church in the country at that time. Yet, from this destruction arose a remarkable restoration. The new oak in the roof and the subtle realignment of the south aisle, visible in the mosaic at the foot of the easternmost column, bear witness to this formidable effort—a project costing well over half a million pounds, even before the spire was reinstated.
While there is mention of a church in “Hathedergh” (or “Hadrelaia”) in the Domesday Book of 1086, no trace remains above ground of that pre-Norman structure. What you see today is a building over 500 years old, steeped in history and spiritual significance.
But beyond the ancient stones and the fascinating heritage of this building, our vicar would like you to know that St John the Baptist’s Church is not just a monument to the past; it is a living place where God resides, offering peace and inspiration to all who enter. As you walk through this sacred space, may you not only connect with history but also find a moment of reflection and a sense of the divine presence that continues to dwell here.
THE BEAK HEAD
You were being watched when you entered this church… Did you notice the face carved high-up in the stonework on the right-hand side wall of the porch as you entered?
Included in the wall of the porch is a remarkable piece of reused stone. Only a portion of it has survived and can be seen but it is likely to be Norman. Figures such as this were often used to decorate doorways.
The carving is most likely a ‘Beak Head’, these are often positioned around doorways or chancel arches.
THE STOCKS
To the left as you enter through the porch, you will notice the old stocks. Sharp eyes will notice that there are seven leg-holes. Why the odd number you may ask? This was not a mistake, in fact it was intentional – other stocks locally have also been known to have odd numbers of holes. Stocks at nearby Meeth can be seen bearing 5 holes.
To maintain modesty if not comfort, female captives held in stocks would have both ankles bound in a single hole to keep their legs closed.
THE WARDENS’ PEW
Immediately on your left as you enter the church – the Wardens’ Pew dates back to the seventeenth century.
The inside of the pew door is richly carved and bears the date 1683. Notice the carvings of trees and birds carved on the seat-back.
This carving formed part of a high pew which was built in the latter part of the seventeenth century.
One panel bears the date 1683 along with the initials possibly of the churchwardens. Such pews were more private (and less draughty) than ordinary benches and were aspirational objects signifying wealth or elevated status in society.
STAINED GLASS WINDOW ABOVE THE WARDENS’ PEW
There is valuable Flemish glass in the window above the Wardens’ pew. St Peter is depicted holding the keys, with the cock crowing nearby. The middle scene is of the women at the Cross. The window on the right, is of the Annunciation. It bears the name of the donor, Jungfrau Adelheit Rauffenbergs, and is dated 1653.
THE NORMAN FONT
The baptismal font is the oldest known remaining object in St John’s and consists of a modest vessel cut out of a stone measuring 26 inches square which sits on a central stone pedestal with four additional supporting pillars and is thought to date to the twelfth century.
CERAMIC TILES TO THE BASE OF THE FONT
Surrounding the base of the Norman Font, are an interesting selection of ceramic tiles. North Devon became known in the sixteenth and seventeenth century for producing a noteworthy range of ceramic items. These were exported across the Atlantic and are commonly found by archaeologists digging from Newfoundland to the West Indies. Ceramic floor tiles such as these were particularly popular and can be found in floors in churches right across Devon. There appear to be 5 different variations here.
CARVED STONE MODEL OF THE CHURCH
THE CENTRE AISLE
Passing the Norman Font, turning immediately right, you will find yourself in the centre aisle of the church, take note of the ornate brass candelabra and look beyond to the remarkable barrel vaulted ceilings with intricately carved bosses.
FORMER WOODEN GALLERIES
During the eighteenth and nineteenth centuries a total of 4 wooden galleries were added to St John’s Church to provide extra seating to accommodate the burgeoning congregation largely in response to the popular ministry of Rev. Cradock Glascott (1743-1831). Sadly none of these wooden galleries remain to the present day, however the vestry wing which was added on the north wall to accommodate one of the galleries still remains, and is where the present day organ is now housed.
The image below is of the interior of St Saviour’s Church Dartmouth showing an example of a wooden ‘West gallery’, which is the closest example we can find locally of what the former wooden galleries here in St John’s Church would have looked like.
SINGERS GALLERY
The 1st of these 4 galleries was the Singers Gallery – A wooden gallery, built in 1743 to accommodate singers or musicians, would have stood along the west end of the centre aisle in front of the tower.
SOUTH WEST GALLERY
The 2nd of the 4 galleries was the South West Gallery – built In 1812, this small wooden gallery was built above the main entrance. Funded by private subscription, it was intended for the exclusive use of the town’s notables James and Ann Essery, John Smale Short, Christopher Palmer, George Pearse, and John Turner.
NORTH WEST GALLERY
The 3rd of the 4 galleries was the Thomas Roberts Gallery – built in 1814 this gallery was located at the west end of the north aisle was erected at the expense of the local schoolmaster Mr Thomas Roberts (1771-1848), in order to accommodate 80-100 boarders who attended his boys’ school in Higher Street.
VESTRY WING GALLERY/ NORTH TRANSEPT
The last of the 4 wooden galleries to be built was the Vestry Gallery. During the ministry of Rev. Craddock Glascott in 1832, a new vestry wing with an enclosed wooden gallery accommodating up to 60 people was added to the north transept. The gallery, located on the upper level, was accessible via an external door from the churchyard, while the ground floor served as the new vestry. This vestry wing remains to the present day and houses the church organ.
Prior to 1832 the vestry was located in a chamber above entrance gates to the churchyard which bridged across from the parish poor house (part of which is now a gym) to the building known as Seldons.
THE MEDIAEVAL WAGON ROOF
The mediaeval wagon roof is remarkable and absolutely unique, and has been painstakingly restored after a catastrophic event in the history of this church. Strong winds resulting from a devastating storm on 25th January of 1990 saw the 54ft wooden spire of the tower come crashing down through the main roof, which left a 90ft2 hole and devastated the interior. A number of the pews beneath were smashed, stones from the parapet of the tower lay in the aisles, and pillars forming the south arcade developed a distinct lean.
Fortunately with the support of English Heritage, insurers, and a well publicised fundraising appeal, the roof together with the interior of the church, and the spire were restored to their former glory over a period of two years.
New timbers were inserted to support the roof and these have been left unstained. These create a wonderful contrast alongside the original timbers which were reused where possible.
FORMER ROOD SCREEN
Devon has one of the largest collections of rood screens, those ornately carved wooden partitions which separated the clergy in the chancel from the laity in the nave. Rood screens in many churches in other parts of the country were destroyed during the Reformation but Devon has maintained an extraordinary number.
The two bays in the South Aisle, below the step, are even more ornate; this was to draw attention to the former Rood Screen which originally existed on the line of the step and would have had open work/canopies above with a rood loft, with the latter being reached by a staircase on the south wall – doorways for this can be seen still to this day.
The carved wooden rood screen would have been adorned with a cross in the centre, depicting the crucified Christ, most likely accompanied by the apostle of John on one side and Mary the mother of Christ on the other. The whole would have been painted and ornamented.
Along with nearly all churches in the land, the rood screen of St John’s would have been removed during the English Reformation in the 16th century, however small carved fragments of it still remain and can be seen forming part of the Jacobean Pulpit.
The image below shows an example of an intact rood screen complete with rood loft from St Saviour’s Church in Dartmouth.
CARVED BENCH ENDS
As you walk down the centre aisle of the church admiring the wagon roof, look a little lower and take in some of the detail of the wonderfully ornate sixteenth century carved bench ends which adorn the pews numbering some 30 odd. You will note that they range in style from carved gothic foliage to sea creatures, and coats of arms. Note the evidence of restoration work in lighter wood to some of the bench ends, completed after the church spire crashed through the main roof and devastated the interior during the January storm of 1990.
You can find out more about Devon’s Ancient Bench Ends by going to the heritage hub on the St John’s Church website where you can view a talk by by historian Dr Todd Gray of Exeter University.
THE BRASS LECTERN
The brass lectern was presented in 1873 by the Veale family, and in 1878 a reredos (in the gothic tradition) was erected in memory of the late vicar John Phelps. On it, are written the ten commandments, the lord’s prayer and the apostle’s creed.
THE JACOBEAN PULPIT
The Jacobean Pulpit (1624) was modified in 1884 to incorporate some pieces of the now removed rood screen. The communion table is Elizabethan but has since been heavily restored. The oak altar rails were crafted by local joiner, John Collins in 1739.
THE EAST WINDOWS
The East Windows are perpendicular gothic, characteristic of the fifteenth century. The largest being above the Communion Table, this was installed by parishioners in memory of the Rev. John Waters, who served as the vicar of Hatherleigh for forty years (there have only been two longer serving in the history of St. John’s). The pictures in this window speak for themselves. They include Andrew, the first apostle, as well as Paul, last apostle. John the baptist is the patron saint of Hatherleigh church. High in the window can be seen the Alpha and Omega, the first and last letters of the Greek alphabet. (Revelation 1:8)
THE PISCINA IN THE SOUTH WALL
In the south wall of the chancel is a well-preserved piscina into which water for cleansing communion vessels was emptied. There is a second piscina, located at the east end of the south aisle.
The presence of the second piscina is due to the fact that at one time there was also a Chantry Chapel in this corner of the building. It was connected with the guild of St. Mary – one of the many religious guilds that were a prominent feature of the middle ages. There was such a guild here in Hatherleigh, ‘The brotherhood of Saint Marie of Hatherleigh’, at least as early as 1399, when the chaplain was Robert Hereward, a member of a local family who resided at Fishleigh.
Priests serving the Chantry, were housed on the south side of the church yard and were retained to recite perpetual prayers and masses for the repose of the dead. Several local landowners clubbed together to finance Benedictine monks from Tavistock Abbey, and in 1545 abolished the chantries as Catholic relics. After demolition of the rood loft, the chantry was subsequently incorporated into the rest of the church.
The blocked arch in the South-East Wall, similar to other fourteenth-century buildings, was a door through to the chantry which would have been used by monks, housed in buildings on the South of the church yard.
SOUTH EAST CORNER WINDOW
The theme of the window in this South-East corner is ‘faith’, as evidenced by the Centurion, the ruler of the Synagogue, the Syro-Phoenician Woman and Blind Bartimaeus. The heraldic bearings at the top of this window are from the fourteenth and fifteenth century, they also include the arms of John of Gaunt, Courtenay and Tavistock Abbey.
SOUTH WALL WINDOW
The Window in the South wall also concerns John the Baptist, depicting scenes of wilderness and the Baptism of Christ. The memorials here (and some elsewhere in the church) are of the Veales and Mallet-Veales, who, in their day, were great benefactors. They resided locally at Passaford House.
THE CRADOCK GLASCOTT MEMORIAL
You must also stop at the memorial to ‘Craddock Glascott’, set high on the south wall. Before his arrival in 1781, Hatherleigh in common with most other English parishes, was considered worldly, unspiritual and even corrupt. Then came the Evangelical revival.
Cradock Glascott, who had preached for fourteen years and had preached all over the country as one of the chaplains of Selina, Countess of Huntingdon, was appointed to the parish. He remained for half a century, until his death in 1831 at the age of 89. A friend of the Wesleys, he had worn the Whitefields Gown at his ordination.
During his years here, he founded the Parish Sunday School, the fourth such school in Devon and also one of the first branches of the Church Missionary Society (1817) and of the Bible Society (1824).
The Glascott Monument, made by James Stephens at Exeter, was designed by Thomas Roberts, himself another remarkable Hatherleigh Worthy. As an 11-year-old midshipman, he lost both of his hands in an explosion on HMS London during the American War of Independence. Undaunted, he set to and devised artificial hands (he later went on to make four pairs, each to suit different activities). He became skilled in wood carving and copperplate writing, as well as establishing a thriving School in Higher Street, Hatherleigh which went on to run for 48 years.
SOUTH WALL STAINED GLASS WINDOW – TWO SAILORS
The Naval Connection is continued in the next window, in memory of two sailors. Appropriately, the stained glass depicts Jesus walking on water, although interestingly the script is unrelated and is a reference from the Book of Revelation. If you look on from the window sill, you will meet with two lions, in the plaques let into the stonework.
JOHN LETHBRIDGE MEMORIAL
There is a very ornate memorial on this South Wall, to John Lethbridge of Deckport. His “more lasting charity” refers to a bequest of £100, a considerable sum at the time of his death in 1706, which he left to the parish for the benefit of the poor.
YEO ARMS
The window nearest the door in the South Aisle contains the YEO arms impaled on those of Honeychurch, and commemorates the marriage of John Yeo , gentleman of Littlewood (died in 1597) to Ann Honeychurch of Tavistock (died 1592). According to tradition, the Yeo family built the NORTH AISLE. They were a yeoman gentry family resident in the area throughout the 15th, 16th and 17th centuries. They owned Fishleigh House.
ROYAL COAT OF ARMS
In the North Aisle, The Royal Coat of Arms over the North-West door was erected in the reign of George II, but was altered towards the end of the following reign to fit George III. The Royal Arms of France on the shield within the garter were “done by an unskilful hand to great discredit to the Parish”.
NORTH WEST WINDOW
The window on the West Wall depicts the Transfiguration. Moses holds the Ten Commandments, while Prophet Elijah stands on the other side, and the apostles, Peter, James and John worship below.
SUNDAY SCHOOL WINDOW
On the North Wall is the ‘Sunday School Window”. Notice the reference to Ascension Day as “Holy Thursday”. For many years a revel was held on that day around St Mary’s Well at nearby Lewer. Ostensibly this was for local people to avail themselves of the water, which was reported to have healing powers. In practice, the event often degenerated into orgies, wrestling, dancing, bonfires, drink and worse.
The Rev. Cradock Glascott (whose memorial you saw on the south wall), introduced a counter-attraction in the form of a great Sunday School treat in order to keep the youngsters away from the immoralities of the revel. Ever since, the day has been observed with a Church service, public tea and games for children.
Twice throughout the day, the church is “girdled”, the congregation holding hands to form a circle around the outside of the building and two verses of ‘We Love thy House O God’. The symbolism is clear: God’s people linked together and their fellowship centred on Christ’s Church. After all, it is difficult to remain on bad terms with somebody whom you are holding hands with.
In the evening there is a Procession of Witness round the town, headed by a magnificent floral garland and led by Hatherleigh Silver Band. The children carry Sunday School banners, many of which are well over one hundred years old.
ST CHRISTOPHER WALL MURAL
On the north wall to the left of the organ, can be seen remaining evidence of an 9ft depiction of
St Christopher (latterly known as the patron saint of travellers) painted directly onto the wall using distemper. This was discovered in 1832 when workmen were scraping off the whitewash from the wall in order to refix a monument of the Fortescue family. The remains were revealed beneath the white plaster, but were sadly destroyed when the north transept was built to provide yet another gallery, with a much needed vestry underneath.
GRAY & HARRISON CHURCH ORGAN
In 1852 a Gray & Harrison (London) organ was installed, and from that time the North Gallery accommodated the organ and choir. In 1913 the gallery was taken away to make more room for the organ, it is now rebuilt and enlarged by George Osmond. The choir then moved to the new pews in the North-East corner.
JOHANNIS YEO MEMORIAL
On the North Wall to the right of the organ is a barely readable memorial to Johannis Yeo. The inscription is in Latin. It is possible to pick out two kneeling figures with a prayer desk between them. The memorial is surrounded with various coats of arms. What at first looks like a Christmas cracker at the foot of the memorial is a skull held by two hands.
NORTH EAST WINDOW
The window in the North Wall is in memory of Evelyn Camilla Hooper, who died in 1877 at the age of just eleven. It contains three Beatitudes, two of the seven “I am” sayings of Jesus from St. John’s Gospel, and the text “Suffer little children who come unto me”
EAST CORNER WINDOW
The window in the East wall in this corner gives a before-and-after account of several well-known parables: the good samaritan, the Prodigal Son, the Wise and Foolish Virgins, and the Pearl of Great Price.
CUSHIONS AND KNEELERS
The pew cushions and kneelers in the centre pews are the work of members of the congregation in a scheme begun in 1982, following an anonymous gift of £500 for church furnishings. The patterns on the kneelers depict various Christian symbols, many of which associated with Hatherleigh Parish Church. Some motifs are based on carvings in the Warden’s Pew by the entrance, and others on details from stained glass and heraldic emblems in the Church.
BELFRY SCREEN
The screen marking off the belfry was erected to the memory of the Reverend Jack Manaton, for many years a Diocesan Lay Reader and Organist in this Church, and later Rector of Georgeham
The proportions at belfry level point to a late fourteenth-century date for the tower. This also corresponds to the time of the wool boom which brought prosperity to this part of Devon and led to many of its churches receiving upgrades.
CHURCH TOWER
There are 74 steep and extremely narrow steps to the top of the tower. At step 20, a wall-slit gives a view in a northerly direction, overlooking the churchyard. From the old ringing chamber at the 30th step, there is a view of Dartmoor through a window. The opposite wall carries the box which carries a channel for the clock weights. Open steps then continue, going up through a hatch-door to the clock itself.
THE CLOCK
The clock was manufactured by J.W. Benson of London in 1801 & takes the form of a cast iron flatbed movement, with hour strike & quarter Westminster chimes, it drives the single dial with an anchor escapement with pendulum action. It is automatically wound to remove the need for manually winding.
CHURCH BELLS
A brass plate near the belfry entrance gives details of the fittingly named Churchward family, through whose generosity the bells were rehung and recast in 1929.
There have been bells in Hatherleigh church since 1552, when there were just three. Then, following changes in fashions, by the year 1745 there were five bells, by 1796 there were six and finally, by 1883 there were a total of eight, as there are today. The tenor bell alone weighs approximately 660 KG and is tuned to key F. The call-change method is used in ringing.
Formerly plaster tablets were present in the belfry and were painted with the following verses:
We ring the quick to Church,
The dead to grave:
Such is our usage,
Hoping such to have.
He doth ring in hat or boot or spur,
Or mar a peal, or overturn a bell,
He shall pay sixpence for each single crime,
“Twill make him cautious at another time.
The tower that Nobles make their trust,
Will fall and moulder in the dust;
For time pulls down the proudest halls
And highest spires and strongest walls
This last verse is perhaps a prophecy of the fateful storm which brought the tower’s wooden spire crashing down through the roof on the 25th January, 1990.
An ambitious restoration project spanning 2 years to restore the tower’s stonework, clock and bells was started in 2023. Following the 5 yearly inspection report into the condition of the church, it became obvious that it was necessary to act to prevent further rapid deterioration to the condition of the tower.
The project ensured that the bells and clock benefited from much needed maintenance and renewal. Water ingress caused by the condition of the tower was also having a detrimental effect on the wooden frame that housed the bells in the belfry. During October of 2023 a team of volunteers from the Hatherleigh Bellringers began work to dismantle the bells in preparation for bell hangers Matthew Higby & Co to lower the bells to the ground so they could be restored and the work to build a new steel frame for the bells could commence. This work was necessary as the wooden frame had reached the end of its serviceable life and was causing safety concerns and making ringing less predictable due to the frame flexing.
Prior to this project the bells at St John’s were rung from the ground floor of the tower. Following the completion of the bell reframing, the bells will be rung from the first floor chamber, which should make ringing easier for the Hatherleigh Bell ringers.
You can find out more about this remarkable restoration project in the heritage hub.
OCTAGONAL WOODEN SPIRE
The fifty-four foot octagonal spire (the original brought down by the storms of January 1990), is dated to the mid-fifteenth century. Careful examination of its timbers has revealed some unusual features and in view of the rarity of these spires in this part of the country, its construction has been underwritten by English Heritage.
Hatherleigh celebrated a Millennium in 1981. It was to mark one thousand years since the first written reference to the town. This mention was in a Charter dated AD 981, by which King Elthered (yes, the Unready), granted the manor of Haegthorn (today’s Hatherleigh), and its church to the newly-built Abbey of Tavistock. The Abbot of the day thus held the patronage of Hatherleigh Church and so appointed its Vicars, until Henry VIII suppressed the monasteries in 1539. The patronage has since been passed through several hands. It is now vested in the Church Pastoral-Aid Society.
Publications were issued to mark the millennium, these can be obtained from the Hatherleigh History Society. They are called ‘The story of Hatherleigh’ and the ‘Hatherleigh Almanac’
We hope you have enjoyed this audio guided tour of St John’s church. You can find more information about the heritage of this wonderful building in the heritage hub.
