|
|
|
|
HistoryThe church began as a parochial chapel belonging to what used to be the more important village of Coombe Keynes. During the 13th century the church was rebuilt. In 1384 it was decreed that "Wool Chapel" should be dedicated "for the third time", and since then, with its Mother Church at Coombe Keynes (made redundant 14th January 1974), it has been dedicated to Holy Rood. It was not until 1844 however that Wool became a separate parish. (Coombe Keynes is a small village with a population of under 100 accessed by a lane, not far from Wool, on the left as you take the road from Wool to Lulworth. The original but sadly redundant Holy Rood church is still there and is now a village community building. Coombe Keynes is thought to have been badly affected by the Great Plague of 1348; Wool however has since become more and more populated.)
According to Hutchins in his History of Dorset, the church on this site
consisted originally of only a nave. The chancel and tower were added later,
about 1450.
In 1865 a faculty was issued to pull down the body of the church and chancel
with the exception of the tower and north and east walls of the nave and to
build a south aisle. The church was lengthened by 12 feet.
The result was the church as we see it now. The extension included the
ancient burial place of the Turbervilles of Wool Bridge. The architect was John
Hicks of Dorchester.
[Above text largely based on the Holy Rood Guide written by
the late Mr Alan Brown (2003)
and used by permission. Alan was also the author of
three
excellent books on local history: "A Backward Glimpse of
Wool", "The Changing Face of
Wool", and "More Memories of
Wool".
|
|
Treble |
Note E |
2cwt 2qtrs 8lbs |
1907 |
|
Second |
Note D |
3cwt 2qtrs |
1606 |
|
Third |
Note C |
4cwt |
1738 |
|
Fourth |
Note B |
6cwt 2qtrs |
1606 |
|
Fifth |
Note A |
8cwt 2qtrs |
1659 |
|
Tenor |
Note G |
11cwt 0qtrs 24lbs |
1907 |
3rd bell
(1738)
4 cwt
Inscriptions and makers:
1. "In loving memory of my dear mother and my dear grandmother Caroline
Esther Hedgecock. 1906. Florence Dobie. John Dobie 1907."
Gillett & Johnson, Croydon
2. "Love God" 1606
John Wallis, Salisbury
3. "John Hayte CW. Anno 1738. WKBF" (pictured above)
"WKBF" is probably
William Knight, Master Bell-Founder in Closworth
Bell Foundry from 1709-47.
4. "Serve God. W. 1606"
John Wallis, Salisbury
5. "C. W. T. B. Anno Domini 1659".
Possibly by
Thomas Purdue, Master Bell-Founder in Closworth
Bell Foundry from 1647-1691.
6. "These bells rehung, tenor and treble added, 1907. Arthur C.B. Dobie, Vicar.
Jas. Spicer and Walter Wright, churchwardens."
Gillett & Johnson, Croydon
Registers
The registers of Wool and Coombe Keynes dated from 1583 are now in the County
Archives at Dorchester.
Former vicars
The previous vicars of Wool and East Stoke are listed at the back of the church.
War Memorial
The War Memorial in the churchyard is a plain Latin cross and was erected in
1921.
Setting
Although the church now stands on the edge of the village, it was not always so.
Church Lane was once a busy road. A hundred yards past the church the road
reached a junction: one road to East Stoke, another through Wood Street and into Purbeck,
and yet another to Coombe Keynes, running parallel some quarter of a mile east of the
present road.
Hutchins 3rd edition also referred to the position of the church: " - it is
conveniently situated on gently rising ground in the Southern part of the
village. There is a tradition among the people, that some time ago it formed the
central point of the village; and within the memory of the present generation,
changes have taken place which have made it less so than formerly, some houses
near the church having been pulled down, and others built at a greater distance,
in common, Bindon Lane etc."
Text based on the current Holy Rood Guide written by Alan Brown (2003)
and used by permission. Alan was also the author of two excellent books on local history "A Backward
Glimpse of Wool" and "The Changing Face of Wool".
Sadly Alan died in 2020, but until then
all three books were available direct from him
at "Willowmead",
Bindon Lane, Wool, Wareham, Dorset BH20 6HG
where his family still may be contacted.
(Above photos are mostly by Chris Irwin.)
The Wool Mediaeval Altar Frontal, like the Coombe Keynes Chalice, is part of Britain’s, and our church and parish's, history.
Our Altar Frontal was committed to the care of Dorset County Museum in 1886. It is is too fragile to be left on public display but Dorset County Museum has published the following information which fortunately now includes several photographs of the frontal, images that were previously not available.
This is adapted for our website but for the original article copyright to Dorset County Musem, see:
https://dorsetcountymuseum.wordpress.com/2014/10/10/the-altar-frontal-from-wool-church/
There is a glossary at the bottom of this page, which may help with the words in blue italics, that are possibly unfamiliar.
From the ‘Proceedings of the Dorset Natural History and Archaeological Society’ Volume 55 1934, an article written by the G. DRU DRURY, M.R.C.S., L.R.C.P., F.S.A entitled ‘The Altar Frontal From Wool Church.’ (Read the 21st day of November, 1933.) (Our headings and italics/bold do not form part of the original)
History
This interesting altar frontal is made up from portions of mediaeval vestments, which local tradition would have us believe came from the neighbouring Cistercian Abbey of Bindon.
In the year 1886 the Vicar and Churchwardens of the Church of the Holy Rood, Wool, placed it with the Dorset County Museum, and being extremely fragile, it was carefully repaired by Mrs. Stillwell the following year.
The descriptive references by Hutchins and his continuators are scanty and inaccurate; and the fact that, during the 47 years our museum has sheltered this fine example of mediaeval embroidery, no adequate description has been attempted can only be regarded as a reproach, with the object of removing which this paper has been written. Several doubtful points were cleared-up by a visit to the Department of Textiles at the Victoria and Albert Museum, with a photograph of the frontal; and I take this opportunity of recording gratefully my indebtedness to Mr. C. E. C. Tattersall for his kindness and courtesy on that occasion.
The most gratifying fact established was that the embroidery is undoubtedly English, though the velvet was probably all imported from Italy. Most of the work dates from the end of the 15th century; and some of it may even be 16th century, the figures on the second and fourth strips being just about as late as any pre-reformation type. The frontal is composed of eight approximately equal vertical strips joined together to fit an altar 4ft. 6ins. in length by 3ft. high. These strips differ both in design and material, four being of velvet and four of linen, but in the latter case, not all of the same texture.
First strip
The first strip (from the left-hand side) is of blue velvet, the pile of which has nearly all worn off. It is embroidered with coloured silks and gold thread in a design of “fish flowers” and sprays. The name” fish flower” is derived from the fancied resemblance of the central portion to the inverted body and tail of a fish. The rich blue of the velvet still survives in the centres of the two flowers and where it has been protected by the sprays here and there. It is not difficult to imagine this as part of a sumptuously decorated chasuble; in fact there is in the Victoria and Albert Museum a red chasuble of late 15th century date which is embroidered with practically the same design.
Third, fifth and seventh strips
The third, fifth and seventh strips are all from one piece of velvet—probably from a cope—once a rich purple but now faded to a brown colour. The design of “pine flowers” and sprays is finely embroidered in coloured silks, the heads of the flowers being of white linen appliqué and worked over. Comparison with a cope of purple velvet in the Victoria and Albert Museum which, though still definitely purple, – has faded in places to a colour nearly resembling these strips, confirms this opinion as to their original colour, in spite of the fact that Hutchins mentions brown velvet. Furthermore Mr. Tattersall reminded me that though red, blue, green or purple vestments are frequently mentioned in the inventories of church goods of 1552, brown is unknown.
Second and fourth strips
The second and fourth strips are parts of orphreys made of rather coarse linen embroidered with silks in the designs of figures standing on the ground, beneath architectural canopies, the style of which dates them as late 15th or early 16th century work. Some of the orphreys of English work of this period in the Victoria and Albert Museum exhibit canopies similar to these in general form, in the character of the vaulting beneath the canopy arches, and in the round-headed recesses of the shafts. It will be noticed that the figures on these two strips face inwards towards each other, doubtless because they formed parts of orphreys from the front of a cope, but not all the panels are complete as to their tops and bases. It is not easy to determine whether these bearded figures represent prophets, apostles or saints, much less to assign them names. None of them have ecclesiastical vestments and with one exception they wear a nondescript kind of “traditional” costume, of forgotten origin after generations of copying; possibly in like manner the very identity of the persons represented may have meant little to the worker who carried on the tradition.
The top figure of the second strip carries a spear and wears a large flat-topped hat, his hair and beard are white. The middle figure, who carries a long-handled axe, also has white hair and beard, but appears to have a halo rather than a hat; the upper part of his canopy has been cut off, consequently it is not certain that his position in relation to the figure above is the original arrangement. The lowest figure with brown beard and small pointed hat might (as has been supposed – Hutchins’s History of Dorset, 3rd Edition, Vol. 1, p. 361.) represent Moses holding the tables of the law in his left hand and a rod in his right.
On the fourth strip the top figure with a long brown beard is dressed as a merchant with a belt and gypcière, his turban hat has a long liripipe which depends below the level of his right knee. The second figure with white hair and beard has a halo and grips a long knife and may perhaps represent St. Bartholomew. The lowest figure has brown hair and beard with ruddy cheeks, he wears a tall pointed “Steeple” hat with a broad turn-up and carries a scroll in his left hand.
Sixth and eighth strips
The sixth strip is also part of an orphrey, perhaps the central strip of a chasuble. It has been rubbed very bare of its silk embroidery, exposing the linen surface which is of very coarse texture. Two female saints in veil and wimple are worked upon it; the upper figure bears a church in her hands, the symbol of a foundress; the lower one holds a cross in both hands and might perhaps represent St. Helen. Their canopies are of an earlier type than those just mentioned.
The eighth strip is again part of an orphrey and is worked on linen of fine texture. The design consists of two male saints, each adorned with a blue halo, standing beneath canopies. The lower figure holds a chalice in his left hand but the object held by the upper figure is not now recognisable though it appears to terminate above in a small round knob. The canopy is only complete in the case of the lower figure, and though this resembles in some respects those on the sixth strip, it is not the same, the pediment has a more stately pitch and the diaper work is better, and a date may be assigned to this earlier in the 15th century than any of the others.
It would seem, therefore, fairly obvious that the sixth and eighth strips belonged to different vestments, and it is a not incredible supposition that the sixth strip, in so far as its canopy work is concerned, may have been a rather poor copy of the eighth strip.
Two other vestments
But there are parts of yet two more vestments incorporated in the frontal. On either side of the second strip a thin edging has been added consisting of green and gold “cut velvet” while between the third and fourth strips there is a similar edging of crimson and gold “cut velvet”. Both of these are Italian and of 15th century date. The fragments, preserved between glass in the small frame, came from the back of the Altar Frontal at the time it was repaired by Mrs. Stillwell. With the Council’s permission I submitted them to Mr. Tattersall for his opinion, and have since labelled them in accordance with it.
Nos. 1 and 2 are pieces of 15th century Italian velvet, doubtless from a cope. The crimson pile, which is woven on at least two warps, is cut to show a design in gold. A fine example of such a cope is to be seen in the Victoria and Albert Museum. Nos. 3 and 4 are pieces of the green and crimson edging dividing the strips, described above. The green velvet is much rarer than the crimson. It was noticed that several of the vestments in the Victoria and Albert Museum had an edging of this material round the bottom. Nos. 5, 6 and 7 are pieces of handwoven linen of various texture and colour, used as linings for the frontal. To summarise briefly, it is definitely established that there are incorporated in the frontal, parts of at least three vestments, probably a chasuble and two copes, and parts of three different sets of orphreys; but whether the orphreys belonged to these particular vestments or were taken from others it is impossible to say.
The tradition of a connection with Bindon Abbey
Now in regard to the traditional connection with Bindon Abbey, what is the evidence? It must be acknowledged at once that there is no real evidence and, after all, it is hardly likely that there should be; nevertheless where a strong local tradition exists in matters such as these it is unwise to ignore it.
The compilers of the 3rd Edition of Hutchins’s History of Dorset state that “it was probably brought from Bindon Abbey”. Hutchins himself, in the 1st Edition, states rather more explicitly “it is most probable it belonged to Bindon Chapel and was preserved when that and the house were burnt in the Civil Wars.” The house and chapel here referred to were built by Lord Thomas Howard (created 1st Viscount Bindon in 1559) who “raised a fair house” out of the monastery ruins. The actual position of this house and its domestic chapel cannot now be determined with any certainty, but it seems probable that it covered very much the same area as the present house within the Abbey precincts. It was burnt down during the Civil Wars about the year 1644. A return of Church utensils in 1550 belonging to this Bindon Chapel is quoted by Hutchins, (Hutchins’s History of Dorset, 3rd Edition, Vol. 1, p. 352.) which includes a pair of vestments and an altar cloth. Perhaps this may have been the source of his idea. In the Inventory of Church goods of 1552 (Proceedings, Dorset Natural History and Antiquarian Field Club, Vol. XXV., pp. 210 &211.) the ” Chapell of Byndon ” possessed “one payre of vestments of rede & gryne saye” and “one alter clothe” In the same Inventory “The parische of Woolle” had ” iiij payre of vestmentes with branchis of silke. ij copis with branches ” ” iiij aulter clothes ” : of which ” one cope and all the table clothes ” were allowed for the church use.
On the face of it the supposition of the late Rev. W. Miles Barnes (Ibid, p. 198.) would seem to be quite likely, viz.:—that these vestments and the remaining cope were eventually made up into altar hangings after purchase from the Commissioners, of which the frontal is all that now survives.
All the above information about the frontal including the photographs was obtained from the Dorset County Museum website and is copyrighted to Dorset County Museum. It was downloaded from their website on 30th Aug 2015.
Dorchester Museum website: https://dorsetcountymuseum.wordpress.com/
Altar Frontal Article: https://dorsetcountymuseum.wordpress.com/2014/10/10/the-altar-frontal-from-wool-church/
(See http://www.oxforddictionaries.com except where stated)
Altar front(al): A hanging or panel, often decorative, covering the front face of the altar.
Chasuble: An ornate sleeveless outer vestment worn by a Catholic or High Anglican priest when celebrating Mass.
Cope: A long, loose cloak worn by a priest or bishop on ceremonial occasions.
Diaper: A pattern formed by small, repeated geometrical motifs set adjacent to one another, used to decorate stone surfaces in architecture and as a background to illuminations in manuscripts, wall painting or panel painting. http://www.pitt.edu/~medart/menuglossary/diaper.htm
Foundress: A woman who establishes something, as an institution or religious order; founder. http://dictionary.reference.com/browse/foundress
Gypcière: Gypcières were small pouches which were often fitted with metal frames, sometimes very ornamental, hung from a belt or girdle, and were used as the purse of the Middle Ages. http://www.jewels-gems-clocks-watches.com/gemdict_en/index.php?le=G&la=E&entry=112888
Liripipe: A long tail hanging from the back of a hood, especially in medieval or academic dress.
Mediaeval: Another word for the Middle Ages. The period of European history from the fall of the Roman Empire in the West (5th century) to the fall of Constantinople (1453), or, more narrowly, from around AD 1000 to 1453.
Orphrey: An ornamental stripe or border, especially one on an ecclesiastical vestment such as a chasuble. (Chasuble: An ornate sleeveless outer vestment worn by a Catholic or High Anglican priest when celebrating Mass.)
Vestment: A chasuble or other robe worn by the clergy or choristers during services
|
Send mail to the webmaster (see
Contacts) with
questions or comments about this web site.
|
The small chapel in the north east corner is the Bindon Chapel which was once
larger than at present, as part of it was taken in when the vestry was enlarged.
The font and the two stone arches on the north side are 15th century.
The water stoup
exhibited on the window sill in the north aisle was once fitted into the wall of
Coombe Keynes Church and removed in 1974.
The
cresset stone (also on the north window sill) containing four receptacles in
which wicks floating in oil were burnt before a shrine, is a fine example of
mediaeval work, and was discovered during the rebuilding in 1866.
