Church of All Saints

The Church of All Saints is a parish church dating from the 15th century, with a tower and chancel, a nave rebuilt in the 18th century, and windows and a north aisle added in the mid-19th century. It is constructed of ashlar with Welsh slate roofs.

The west tower has three stages, featuring angle buttresses topped with gargoyles and an embattled parapet. The ground-floor west side has a low tomb recess containing a worn, flatly carved effigy, likely from the 14th century. Above this are Victorian paired lancet windows, and a wide, 4-light Perpendicular style window. A small, squared original window is in the second stage, and tall, slender paired lights are in the bell chamber above. A plain, chamfered north doorway is set within a gabled porch. The north aisle has buttressed walls with small, 2-light windows adorned with quatrefoils. The chancel has a 3-light east window and a small priest’s door to the south. The south nave wall is tall, featuring a series of mid-Victorian windows with paired lights and flowing tracery forming quatrefoils.

Inside, a four-bay north arcade employs cylindrical shafts supporting double-chamfered arches, interpreted in a stripped-down form of the Decorated style. The tower arch rises high and is spanned by a screen and gallery of mid-Victorian, ornamented woodwork. The nave roof has king post trusses. A wide chancel arch springs from corbels. Internal fittings are largely mid-Victorian, including a stone reredos behind the altar, depicting the Last Supper in relief. The font may be medieval; it is octagonal, with a blank shield in high relief on each facet. Stained glass windows on the south nave form a linked series. The eastern pair, dating from 1879, are the work of Burne Jones for Morris and Company, depicting Moses and David with scenes of Christ's birth and the Adoration of the Magi, and Peter and Paul above the Miracle of the Fishes. These windows have backgrounds of lush foliage, fruit, stylised landscapes, and angels in the quatrefoils. Two western windows, dated 1897 and by Kempe, follow a similar style, with Daniel and Stephen above the raising of Lazarus, and Isaiah and John over the Baptism. Kempe’s backgrounds are more abstract, with fuller landscapes.