Inside the Church

The overall internal dimensions are those of the original 14th century building – 120 feet long and 54 feet across the transepts. 

 

 Inside the church

 

The graceful five-bay nave arcades of plain, double-chamfered pointed arches are supported by octagonal columns with moulded capitals and bases. They and the chancel arch are of chalky Totternhoe stone from quarries near Dunstable. The present tie beam roof of pitch pine, which replaced the original oak timbers, was constructed under the direction of J L Pearson in 1880, when the dormer windows were replaced by the present fine examples. Pearson, the Gothic Revival architect, who also designed the pulpit, produced some of the first Victorian Gothic churches, among which are St Augustine’s Kilburn and Truro Cathedral. The kneelers depicting the Maltese Cross of St John were worked by some of the ladies of the congregation. Above the chancel arch was a doom painting which was lost during the 1850s. There was no surviving rood screen at this date, merely a couple of panels incorporated into the existing woodwork which had probably survived from an earlier screen. Hanging in its rightful place beneath the chancel arch is the Rood Group – our Lord on the Cross flanked by his Mother and St John. It was designed by Romily Craze in 1955 and shows Our Lord reigning in glory from the cross – a motif known as the Christus Rex.


Symbolism played an important part in medieval thinking and, although little of it is understood by many people today, the Christian church is full of examples. The simplest and still best known symbolism is the cruciform plan of many churches such as this one. It is less well known today that the nave symbolises the world, the chancel arch–death, the doom painting–the day of judgement, the Rood–victory over death and the chancel–the Heavenly Jerusalem. Because the chancel symbolises Heaven, those who serve there or in the sanctuary always wear white vestments. 

To the east of the 14th century doorway is the organ console and nearer to the doorway is a wall monument to Henry James Pye, Poet Laureate to George III. Pye is now chiefly remembered in connection with the nursery rhyme ‘Sing a Song of Sixpence’ with its line ‘when the Pye was opened’ which is a pun on his name. The window to the east of the south door was designed by Clement Skilbeck and is in memory of Edward Hogg of the Lodge. It shows Jesus the Good Shepherd with an attractive view of Pinner church beneath. The adjoining light contains St John the Baptist with a picture of Geddington church Northants below, together with Geddington’s famous Eleanor Cross. Edward’s father was rector of that church.

The two-light window with a pointed cinquefoil head to the west of the south door is considered to be the most noteworthy possessed by the church. It is a memorial to Ellen Nugent whose name is perpetuated by Nugents Park at Hatch End, which is on the former estate of the Hall where she lived. The figure in the left hand light represents Faith, whilst that in the right hand light is Hope. The window was designed by the influential local artist, Louis Davis (1861–1941) who was prominent in the Arts and Crafts movement of the late Victorian and Edwardian period.

 

 

Tapestry   The Pinner canvas was designed and planned by Mrs Joy Daffon, a founder member of the Harrow Branch of the Harrow and District Embroiderer’s Guild. It was worked on by members of the Pinner Youth Club, who each contributed at least one stitch under the supervision of Mrs Daffon. From 1976 onwards she worked on it unaided. It was completed in 1983. It has been in display in Hampton Court Palace under the auspices of the Embroiderer’s Guild, but has now found a permanent home in the church.

PLATE.
The church’s medieval plate is now all lost. There is a silver-plated communion cup and salver dated 1830; the rest is Victoria or modern.

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