Church Of St Nicholas

Church of St Nicholas

Parish church dating from circa 1190, substantially altered in the 14th century and fitted with a central tower in the 15th century. The building was restored in 1847 by Butterfield, in 1861 by Christian, and in 1896 by Edward Fry. Constructed of flint with rubble stone, incorporating re-used tile, and covered with a plain tiled roof.

The church is cruciform in plan, comprising a chancel, north chapel, nave, north aisle, a large north porch, and a central tower. The double gabled west end is defined by offset buttresses positioned at the centre and corners. The doorway and west windows are largely of 1847 date, executed in Decorated style. The south nave wall displays an exposed two-bay arcade, now blocked, which formerly served a south aisle. The fenestration here is of 19th-century Perpendicular style.

The transepts and chancel are late 12th-century in origin, though the fenestration has been much restored. Only one lancet window survives in the chancel's south wall. The north chapel retains original 14th-century Decorated mouchette tracery. The south transept was heavily restored and buttressed in 1675 and is set with many stones recording the names of benefactors and churchwardens from that period. The north porch is of 19th-century construction.

The central tower comprises three stages, with the top stage offset and featuring string courses and battlements, topped by a tall needle spire. A south-west stair turret, circular changing to octagonal, rises to a battlemented top stage.

The interior contains a four-bay north arcade in the nave. The westernmost bay probably originally formed the base of a north-west tower, with thickened walls and heavy recessed chamfered arches. The other three arches feature large chamfers and head mould on round piers with moulded octagonal bases and capitals. Part of a blocked two-bay south arcade is exposed. The roof is of 19th-century construction with scissor bracing. At the crossing, four identical 15th-century arches feature continuous hollowed, double wave surrounds on round responds with octagonal bases and capitals. The south transept is intruded upon by the tower stair turret. The aisle arches carry roll moulding on imposts with nook shafts to responds. A Decorated arch opens from the north transept to the north chapel, featuring a continuous moulded surround with mutilated head corbels. The north chapel retains the only original scissor braced roof remaining in the building. The chancel is defined by string courses at the base and head to the windows, south door, and piscina, with a chamfered arch to the north chapel. The wall is pierced above monuments.

Fittings include an arched aumbry in the chancel's east wall and a square aumbry. A large trecusped piscina features a label hood. A Perpendicular screen of four bays closes off the north chapel, displaying cusped and traceried panels and a moulded beam. The font is of white marble, with a moulded octagonal bowl and stem on a square plinth, purchased by churchwardens in 1726 for £10. A poor box dated 1727 is fixed to the north-west crossing pier, moulded with a coved top, swept base, and panelled sides. Royal Arms of George III are displayed in the north aisle, and painted stone Royal Arms of the 17th century, draped, hang over the north aisle and north transept arch.

The church contains an important series of brasses. That of Maud Clitherow (c.1435), positioned under the central tower, is 4 feet 6 inches high and includes a canopy, though only the upper part remains; her husband Richard's brass has been entirely lost. In the chancel, a brass to Jane Keriel (d.1455) stands 30.5 inches high and uniquely features a horned headdress. A brass to William and Annys Leweis (d.1525–1526) comprises crude figures 1 foot high. In the north chapel, brasses commemorate Christopher and Mercy Septvans (d.1575 and d.1602 respectively), 3 feet 6 inches high, with Christopher shown in ruffed and armoured dress, and Walter and Jane Septvans (d.1642 and d.1626 respectively), 25 inches high, with Walter depicted without armour as son of Christopher.

The monuments constitute an outstanding series. An armoured knight attributed to Sir John de Goshall (c.1310) displays a hood, coat of mail, surcoat, and leather aillettes, with legs crossed and arms once visible on the shield. Beside him lies a lady in Purbeck marble, said to be his wife, wearing a wimple and in prayer. An attributed monument to Sir John Leverick (c.1350) survives under the remains of a vaulted triple canopy, showing embossed armour of great detail and precision, legs crossed with a lion at his feet, his head slightly turned towards the altar. The rear of this monument incorporates an integral piscina and open arch. A monument to John de Septvans (d.1458) and Katherine Martin (d.1498) comprises alabaster figures on a Purbeck marble chest tomb, with a heavily restored crocketed ogee canopy; the figures may have been moved from Sittingbourne Church in the 15th century. Sir Thomas Septvans (d.1617) and his wife Bennett (d.1612) are commemorated by a large alabaster wall monument depicting both figures kneeling opposite each other over a lectern beneath a coffered arched surround with Corinthian architectural detailing and mourning children (now seven girls) on a scrolled base. Christopher Toldervey (d.1618) is remembered by a similar monument of comparable quality, executed in coloured marble with a less elaborate surround. Richard Hougham (d.1601) has a wall tablet erected in 1666, and Mary Lowman (d.1743) is commemorated with a monument featuring a scrolled open segmental pediment and cornucopia. Additional small but interesting plaques commemorate Henry Roberts (d.1718), the Cartwright family (from 1722), William Brett (d.1769), Dorothea and Thomas St Nicholas (d.1605), and Innocent Nicholas (d.1588). Three charity boards survive, two dating to 1742 and one to 1837.