Church Of Saint Michael And All Angels

Church of Saint Michael and All Angels

This is a large suburban church in the Perpendicular style, located in Heavitree. It represents a multi-phase building, retaining significant medieval fabric within a progressively rebuilt 19th-century structure.

The church was substantially rebuilt in 1844–46 by David Mackintosh of Exeter, an architect whose known work was mainly on churches confined to Devon. A prominent west tower was added in 1888–90 by Edward Hall Harbottle, also of Exeter, built to commemorate Queen Victoria's Golden Jubilee. The chancel was extended eastward in 1898, also by Harbottle. The roof was restored in 1924–25, at which time galleries were removed.

The building is constructed of grey Devon limestone with Bath stone dressings, and slate roofs with fish-scale shaped tiles on the south porch. The plan comprises a nave, chancel, north and south aisles, south porch, west tower, south chapel, north transeptal organ chamber, and north vestry, with a room beneath the east end of the chancel.

Externally, the church presents an entirely 19th-century appearance, though the medieval structure has been preserved below. The east end, facing the road, sits high due to the sloping land, with the chancel east end positioned above the Rifford Room. The east window is relatively small and set high, with five lights and typical Perpendicular panel tracery with two rows of blind quatrefoils at its base. North of the chancel stands a large transeptally-arranged organ chamber with single-light side windows containing modest tracery. An L-shaped vestry occupies the angle between the organ chamber and chancel. A single-storey entrance passage crosses the north face of the transept. The six-bay aisles feature substantial three-light windows with transoms beneath gabled roofs with embattled parapets, while the east portions of the church have plain parapets.

The most prominent external feature is the west tower, modelled on the majestic medieval towers of Somerset. It comprises three tall storeys with angle buttresses and a demi-octagonal stair turret centred on the north face, rising to the parapet. The buttresses are enriched at each level with small blind finialled single ogee arches, adding richness to the composition. The ground stage has a square-headed doorway with tracery in the spandrels, surmounted by a large five-light window with a transom. The second storey is plain with a small two-light window on the west face. The top stage contains two-light belfry windows with pierced quatrefoil slabs infilling them. The parapet is embattled with corner pinnacles and smaller intermediate ones. The south porch displays an outer doorway with continuously moulded outer order and an engaged shaft to the inner one.

Internally, the walls are plastered and whitened. The dominant interior feature is the six-bay arcading between the nave and aisles, where medieval piers were retained at the 19th-century rebuilding. These piers are lozenge-shaped with shafts at the corners and a large wave moulding between them. The capitals feature large angel busts. The arcade arches have fleurons in the hollow chamfering. At the west end stands a tall tower arch, and between the nave and chancel is another arch as broad as the nave itself. The nave is covered by an arch-braced roof. The aisles have pitched roofs with tie-beams. Above the chancel choir is wooden vaulting, with a semi-circular panelled roof over the sanctuary.

The principal interior fixture is an ornate reredos of marble and alabaster from the 1870s, designed by G G Scott. Originally placed in Exeter Cathedral, it was moved here in 1939. The reredos is tripartite, with the centre, taller portion depicting the Ascension, and side portions under very ornate canopies depicting Pentecost and the Transfiguration. Triple sedilia with overhanging Perpendicular tracery heads stand nearby. Part of a medieval screen, displaying standard Perpendicular tracery, is used as the south parclose. A fine ornate stone pulpit, carved with figures of the Four Evangelists and Saint Michael, survives, though now lacking its support. Square-headed oak bench ends feature borders of carved foliage. Two fonts are present: one from the 1840s work with a traceried octagonal bowl, and a medieval font with a squatter traceriated bowl. Several minor monuments from the old church, dating from the late 17th to early 19th centuries, have been preserved. Many windows contain 19th-century stained glass by various makers. The east end of the nave and the chancel are largely cleared of fittings, with no stalls present.