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St Michael and All Angels

St Michael And All Angels

Great Torrington

Devon

852/1/1 19-MAR-51 CHURCH OF ST MICHAEL AND ALL angels (Formerly listed as: CHURCH OF ST MICHAEL) II* East end and eastern half of the nave largely Perp (15th or early 16th century), the base of the south transept reportedly with some fabric as early as the 13th century.

Architectural Features

Much repaired and the western end rebuilt 1646-51.

The aisle walls are part medieval, part 17th century, with rebuilding c.

1645 AND REBUILT Ao.

DOMINI 1651".

In the return between chancel and south aisle is a fine early 16th century vestry with square-headed windows (cusped ogee lights with cusped roundels in the spandrels).

Exaggerated battlements deeply carved with two tiers of quatrefoils containing shields.

The frieze-like capitals have big leafy bands, and in one or two cases, more delicate vine carving.

Two south arcade piers (eastern respond and the next pier west) have between them three Perp statuary niches, probably associated with medieval altars, and defaced at the Reformation.

Some have on their east and west faces block- or cushion-shaped corbels outlined with roll mouldings (probably 17th century), from which rise double-chamfered arches.

1646-50 with repairs.

The chancel floors are of patterned tiles (probably Minton) c.

Principal Fixtures: Exceptionally refined pulpit of oak, c.

1670-90, with paired Corinthian colonnettes at the angles, a moulded arched panel to each face, and dentil cornice above a frieze of richly gilded carved scroll work with lion masks and cherubs¿ heads.

SS4919 : A font in the church of St Michael & All Angels, Torrington

Octagonal font, 1914 of red-veined marble with richly carved quatrefoil panels.

SS4919 : A font in the church of St Michael & All Angels, Torrington

© Roger A Smith

Font cover of oak, in open swept spire form.

South transept chapel refitted 1938, with 17th century communion table, Neo-Perp oak reredos, and a 19th century oil painting by Catherine Doe copying Caravaggio's Ecce Homo.

Monuments: chancel north

Sarah Gooding, d. 1698

Judith Hancock d. 1676

Stained glass: Thirteen windows in all, mainly late 19th century.

Later glass typical of that date.

South-east of the church is a big cobbled mound, reputedly the burial place of those killed in the explosion of 1646.

History: The first recorded rector was in 1259, though a dispute occurred over the advowson in 1194, and the Saxon settlement doubtless had its parish church.

The destroyed south tower and broach spire were probably 14th century, and there must have been significant renewal in the 15th century.

In February 1646, the church suffered one of the English Civil War,.

The resulting explosion and fire left the church ruinous until repaired in 1651.

Hussell believed the Perp piers and capitals to be 17th century copying.

Pevsner saw the western piers as shapeless 17th century rebuildings

others suggest they are 13th or early 14th century, presumably because of the double-chamfered arches which were fashionable at that time.

SS4919 : The south side of the tower and spire of the church of St Michael & All Angels, Torrington

Devon , 460-1 Creswell, B.F., Some Notes on the History of the Parish Church of Great Torrington Hussell, A.T., North Devon Churches Reasons for Designation: The church of St Michael and All Angels, Great Torrington, is designated at grade II* for the following principal reasons: * A large medieval parish church, with evidence that considerable parts (much greater than some accounts imply) survived the explosion of 1646. * Attractive nave arcades, probably 15th century Perp. * Excellent early 16th century vestry with decorative panelled parapets. * The pulpit exhibits unusually refined Classicism for provincial West Country work c.

SS4919 : The south side of the tower and spire of the church of St Michael & All Angels, Torrington

© Roger A Smith

it may have come from a good regional or London maker. * The tragic explosion of the tower in February 1646 was a notable incident in the English Civil War, and the prompt re-building in a contextual style reflects attitudes to worship and building in mid-C17 Devon.