Church of St Dogfan

Church of St Dogfan

A large church of striking and unusual form, comprising a squat tower, a long and low nave and chancel, and large side aisles or naves confined to the eastern part of the church. This arrangement creates a distinctive triple-gabled east elevation. The building is constructed in local slatey stone (shale), with all door and window dressings, quoins and copings dating from the 19th-century restoration executed in sandstone. Slate roofs carry tile ridges, and cross finials crown all three gables at the east end.

The east windows display the most formal architectural treatment. The chancel's east window contains four lights, while the south aisle's east window has three lights, both with restored Perpendicular style tracery set within equilateral arches. The north aisle's east window is lower and square with three lights; its sill has been raised and tracery restored, probably as a copy of the original. The window head is flat with a rough relieving arch above. Side windows of the south aisle are single or two-light openings with foiled heads. The nave windows to north and south are of an idiosyncratic 19th-century Perpendicular type in two lights. A single-light traceried window pierces the west end of the north aisle. The south aisle has a west door. A north porch projects boldly, its outer doorway featuring a simple label mould and a moulded inner order with rounded piers.

The tower rises three storeys, with the bottom storey strongly battered. Its west doorway and small trefoil-headed lancets are 19th-century additions. Sandstone plinth, quoins and square or segmental-headed belfry lights are all contemporary with the restoration. The parapet displays a simple string course at its base and 18th-century obelisk finials.

A 20th-century lychgate stands at the north entrance, with stone side walls and a slate roof with tile ridge and eaves to front and rear. A circular sundial post survives in the churchyard, though its plate is missing.

The interior's striking character derives from its unusual spatial arrangement and the uniformity of roof heights, partly resulting from 19th-century restorations but noted as a 'singular arrangement' by Glynne as early as 1850. Entry via the north porch leads to a transverse passage at the foot of the chancel steps, which unites the north and south aisles with the nave. The aisles extend eastwards, overlapping only one bay of the nave. The main congregational space in the north aisle sits oddly at the rear of the choirstalls. Borrow's 1854 observation that the interior was sombre 'from the heaviness of the architecture' remains apt.

The nave is paved with red and black quarry tiles. Its walls are plain and devoid of monuments, while the ceiling is a plain barrel vault, believed to conceal mediaeval timber work. At the west, the nave abuts the tower with a traceried Gothic-style screen incorporating double doors with side-lights and a leaded clerestory that provides borrowed light to the ringers' floor. At the east, a slight arch (described in the Inventory as 'a plain oak rib') marks where the aisles commence. 19th-century open pews of plain pine design furnish the nave.

The chancel rises two steps above the nave and aisle floor level and contains a 19th-century restored arcade of three arches on each side. Plain pine choirstalls, pulpit and prayer desk occupy this space. Due to the unusual layout, the pulpit and prayer desk stand to the east of the choirstalls. Patterned quarry tile flooring with encaustic features covers the floor. The plain barrel ceiling of the nave continues over the chancel, though its final bay, above the sanctuary, is a late mediaeval barrel-shaped celure with carved crowsfoot bosses at the rib intersections and a carved cornice. The sanctuary is raised one further step and features a brass Communion rail and richer patterned flooring with encaustic details. Above and beside the altar stands a carved Gothic reredos and side panelling, incorporating a high-relief carving of Leonardo's Last Supper. The altar table of 1794 now stands in front of the altar step, positioned slightly forward of the reredos.

The north aisle comprises five bays with collar-beam trusses and black and red quarry tile paving. Plain pews face south. Close to the door stands an octagonal font inscribed IA / 1665 / RI / V / HT, recording the initials of the vicar and churchwardens, mounted on an earlier octagonal base.

The south aisle is largely occupied by the organ and has a barrel ceiling and black and red quarry tile paving. Plain pews face north. Thirteen wall memorials have been collected on the west wall against the vestry, including a large slate memorial to the Reverend William Roberts of Whittington and Selattyn with a marble urn above an oval plaque, dated 1784. Other 18th-century and later memorials exist, including one to Dr William Worthington, vicar, dated 1778. Brasses of 1740 and 1792 are present, alongside another 18th-century stone behind the organ. An early Celtic stone, the Cwgan stone, was recovered from the stonework of the south aisle during the restoration of 1882 and now stands against an arcade pier. It consists of a Celtic cross in shallow relief with contrasting surface patterning on each side.

A single-light stained-glass window at the south depicts the Good Shepherd by Curtis, Ward and Hughes, commemorating Canon Jones, vicar, and his daughters, dated 1910. A 20th-century east window in the north aisle shows St Asaph and St Dogfan.