St. Petrock's Church as Painted by James Bulwer, 6th September 1838
Title
St. Petrock's Church as Painted by James Bulwer, 6th September 1838
Subject
Description
Two watercolours concerning St. Petrock's Church of Timberscombe, as painted by James Bulwer, a British clergyman, artist and collector. Born in 1794 at Aylsham, Norfolk, he studied at Jesus College, Cambridge, where he began drawing lessons with John Sell Cotman, who remained a lifelong friend and mentor (1). By 1822, Rev. Bulwer had been ordained and was sent to Bristol in 1831, before relocating to St. James, Piccadilly London in 1833 (2).
It is known that Bulwer traveled widely, always painting (3) but it is perhaps during his time at Bristol that he first travelled to West Somerset. If so, he kept coming, even after his transfer to London. Among his many works, Bulwer painted the Old Nunnery on lower Church Street at Dunster in 1831, St. Nicholas in Withycombe and St. Dubricius at Porlock in 1834, St. Mary the Virgin at Luccombe and the Blessed Virgin Mary at Oare, both in 1837--just to name a few (4). In 1839, Bulwer depicted All Saints at Wootton Courtenay. 1839 is also the year that Bulwer moved back to Norfolk, where he was curate at Blicking Hall and later the rector at Hunsworth. His paintings of Somerset ceased, but he continued his artwork throughout Norfolk. Rev. Bulwer died in 1879 (5).
The watercolour of the exterior of St. Petrock's is not dated by the artist, but the Yale Centre of British Art has identified it as being done in 1838. On his painting of St. Petrock's font, Rev. Bulwer has signed "Sept 6th" on the base of a pillar, with "Timberscombe" below. The Yale Centre also dates this as 1838 and it is likely they were painted around the same time, possibly the same day.
The St. Petrock's that Rev. Bulwer painted has been on this site since the 1100's, believed to have been built on the site of a previous church or churches. This became more scientifically likely between March and June 2020, when a deep trench was dug across the southern side of the ancient churchyard to accommodate mains connections--revealing incontrovertible evidence of a Saxon settlement, likely religious in nature, that could be carbon dated to 777AD (6). Also the church painted here by Bulwer probably looks different to the modern viewer as since the growth of photography, the church was usually pictured with its red sandstone and random rubble walls exposed. Depictions of the church rendered are usually on artwork, as seen here (and at SP-051 and SP-053). Most churches throughout West Somerset were originally covered in rough-cast or some form of plaster and St. Petrock's render was not removed until the early 1880's restorations by John Dando Sedding (7).
While lightly and deftly painted, Bulwer paints accurately. Here the nave roof (to the left of the tower) is higher than the roof of the chancel. After the 1862 restorations of Ewan Christian (1814-1995) a British architect noted for his many church restorations, the chancel roof was raised higher than the nave (8). It is interesting to see the three large gravestones to the right of the tower. It is possible to surmise that one of these is the gravestone of James Cording, who built (along with his brother, Edward) the Bible Christian Church in Timberscombe, that became Providence Chapel and later the Timberscombe Methodist Chapel. Mr. Cording had recently died in late 1836 (9), two years before Bulwer's visit. His gravestone has survived, but is fallen and now leans against a church wall very close to this spot. It is the size and shape of Bulwer's standing gravestones. Beyond the gravestones is a darker building, possibly a long structure, seen on 1843 Tithe Map, seemingly connected to a cottage (on its other end, which would be hidden by the church). The unseen cottage is The Knapp, built by Cording's brother, Edward Cording (10). The long structure is gone (or greatly reduced to two much smaller structures at each of it's ends) by the 1844-1888 Ordnance Survey Map.
It appears a new grave is being dug by the sexton with his dog in the foreground. Likely this may have been actually happening, as figures are very rare in Bulwer's work. On the front left corner of the watercolour is a rendered wall, behind the house that was the Village Poor House at the time of Bulwer's visit (11) and is later Church Steps Cottage. What is not usually seen in other depictions of St. Petrock's are the stocks at the side of this wall.
Beyond the wall, the church's ancient Yew Tree is suggested. Between it and the left end of the Chancel, the gabled roof of the 18th century Great House Farm is visible. The painting gives an indication of how it appeared before later 19th century alterations (12).
Iron railings can be seen to the left of the porch, still in place in 2020 which served as the family tomb for the Kent family.
Also indicated is a brown tomb, rather prominent above the ground between the rendered wall of the Poor House property and the far corner of the chancel. This is the family tomb of the Baker family, prominent in Timberscombe and its environs for generations. By 2020 this was mostly buried under earth due to the accumulated displacement of soil from the surrounding yew tree. A photographic record was made of a investigation made by the Churchwarden John Gratton and others where the earliest burial in the tomb found was 1681.
On the watercolour of the font, Bulwer has painted loosely but carefully, recording details such as the font's 1400's stone work (13) and it's octagonal panels but the placement of the font and its base will change. Bulwer has painted the font in its 1838 position. Entering the church from the main door at the north porch, there was (and is) a north to south passage, through the nave and between the pews to the church's south aisle. From floor plans prepared by J.D. Sedding (1838-1891) for the early 1880's alterations (14), we know that the font was closer to the south aisle, on the western side of that passage, situated by the third of the four pillars (counting from the front of the church) that support the arches between the nave and south aisle. If the Rev. Bulwer had placed himself on one of the pews on the eastern side of the passage (toward the back of the church), this is the angle that he would have seen and painted.
In Mr. Sedding's specifications, dated February, 1881, he also indicated that the font was to be placed on a "stone of form"--meaning the large base seen in the watercolour will be removed or cut down, to conform more to the size of the bottom of the font. It seems likely that during these alterations is when the font was moved to its present position, near the northern aisle, closer to the church's entryway. This would be more normal for a Somerset church, with the font positioned prominently as a "symbolic reminder that it is through baptism we enter the church" (15).
These copies of James Bulwer's paintings was provided in 2019 by Dr. Jerry Sampson, the former president of the Somerset Archaeological and Natural History Society, as part of his Archaeological Assessment, "TIMBERSCOMBE, St Petrock" prepared in August 2019 by himself and David Sampson, as part of Somerset Churches Project and for a presentation he would be making to the St. Petrock's History Group in September 2019.
It is known that Bulwer traveled widely, always painting (3) but it is perhaps during his time at Bristol that he first travelled to West Somerset. If so, he kept coming, even after his transfer to London. Among his many works, Bulwer painted the Old Nunnery on lower Church Street at Dunster in 1831, St. Nicholas in Withycombe and St. Dubricius at Porlock in 1834, St. Mary the Virgin at Luccombe and the Blessed Virgin Mary at Oare, both in 1837--just to name a few (4). In 1839, Bulwer depicted All Saints at Wootton Courtenay. 1839 is also the year that Bulwer moved back to Norfolk, where he was curate at Blicking Hall and later the rector at Hunsworth. His paintings of Somerset ceased, but he continued his artwork throughout Norfolk. Rev. Bulwer died in 1879 (5).
The watercolour of the exterior of St. Petrock's is not dated by the artist, but the Yale Centre of British Art has identified it as being done in 1838. On his painting of St. Petrock's font, Rev. Bulwer has signed "Sept 6th" on the base of a pillar, with "Timberscombe" below. The Yale Centre also dates this as 1838 and it is likely they were painted around the same time, possibly the same day.
The St. Petrock's that Rev. Bulwer painted has been on this site since the 1100's, believed to have been built on the site of a previous church or churches. This became more scientifically likely between March and June 2020, when a deep trench was dug across the southern side of the ancient churchyard to accommodate mains connections--revealing incontrovertible evidence of a Saxon settlement, likely religious in nature, that could be carbon dated to 777AD (6). Also the church painted here by Bulwer probably looks different to the modern viewer as since the growth of photography, the church was usually pictured with its red sandstone and random rubble walls exposed. Depictions of the church rendered are usually on artwork, as seen here (and at SP-051 and SP-053). Most churches throughout West Somerset were originally covered in rough-cast or some form of plaster and St. Petrock's render was not removed until the early 1880's restorations by John Dando Sedding (7).
While lightly and deftly painted, Bulwer paints accurately. Here the nave roof (to the left of the tower) is higher than the roof of the chancel. After the 1862 restorations of Ewan Christian (1814-1995) a British architect noted for his many church restorations, the chancel roof was raised higher than the nave (8). It is interesting to see the three large gravestones to the right of the tower. It is possible to surmise that one of these is the gravestone of James Cording, who built (along with his brother, Edward) the Bible Christian Church in Timberscombe, that became Providence Chapel and later the Timberscombe Methodist Chapel. Mr. Cording had recently died in late 1836 (9), two years before Bulwer's visit. His gravestone has survived, but is fallen and now leans against a church wall very close to this spot. It is the size and shape of Bulwer's standing gravestones. Beyond the gravestones is a darker building, possibly a long structure, seen on 1843 Tithe Map, seemingly connected to a cottage (on its other end, which would be hidden by the church). The unseen cottage is The Knapp, built by Cording's brother, Edward Cording (10). The long structure is gone (or greatly reduced to two much smaller structures at each of it's ends) by the 1844-1888 Ordnance Survey Map.
It appears a new grave is being dug by the sexton with his dog in the foreground. Likely this may have been actually happening, as figures are very rare in Bulwer's work. On the front left corner of the watercolour is a rendered wall, behind the house that was the Village Poor House at the time of Bulwer's visit (11) and is later Church Steps Cottage. What is not usually seen in other depictions of St. Petrock's are the stocks at the side of this wall.
Beyond the wall, the church's ancient Yew Tree is suggested. Between it and the left end of the Chancel, the gabled roof of the 18th century Great House Farm is visible. The painting gives an indication of how it appeared before later 19th century alterations (12).
Iron railings can be seen to the left of the porch, still in place in 2020 which served as the family tomb for the Kent family.
Also indicated is a brown tomb, rather prominent above the ground between the rendered wall of the Poor House property and the far corner of the chancel. This is the family tomb of the Baker family, prominent in Timberscombe and its environs for generations. By 2020 this was mostly buried under earth due to the accumulated displacement of soil from the surrounding yew tree. A photographic record was made of a investigation made by the Churchwarden John Gratton and others where the earliest burial in the tomb found was 1681.
On the watercolour of the font, Bulwer has painted loosely but carefully, recording details such as the font's 1400's stone work (13) and it's octagonal panels but the placement of the font and its base will change. Bulwer has painted the font in its 1838 position. Entering the church from the main door at the north porch, there was (and is) a north to south passage, through the nave and between the pews to the church's south aisle. From floor plans prepared by J.D. Sedding (1838-1891) for the early 1880's alterations (14), we know that the font was closer to the south aisle, on the western side of that passage, situated by the third of the four pillars (counting from the front of the church) that support the arches between the nave and south aisle. If the Rev. Bulwer had placed himself on one of the pews on the eastern side of the passage (toward the back of the church), this is the angle that he would have seen and painted.
In Mr. Sedding's specifications, dated February, 1881, he also indicated that the font was to be placed on a "stone of form"--meaning the large base seen in the watercolour will be removed or cut down, to conform more to the size of the bottom of the font. It seems likely that during these alterations is when the font was moved to its present position, near the northern aisle, closer to the church's entryway. This would be more normal for a Somerset church, with the font positioned prominently as a "symbolic reminder that it is through baptism we enter the church" (15).
These copies of James Bulwer's paintings was provided in 2019 by Dr. Jerry Sampson, the former president of the Somerset Archaeological and Natural History Society, as part of his Archaeological Assessment, "TIMBERSCOMBE, St Petrock" prepared in August 2019 by himself and David Sampson, as part of Somerset Churches Project and for a presentation he would be making to the St. Petrock's History Group in September 2019.
Creator
Rev. James Bulwer
Source
Date
6 September 1838
Contributor
Language
English
Identifier
St. Petrock's Church and it's font / Timberscombe / Village Centre
Acquisition Date
2019
Acquisition Method
Gift
Category
PLACES: Churches and Chapels / Timberscombe
Condition
Good
Condition Notes
Entered by Tom Sperling
Condition Date
2020
Dimension Type
W X L
Dimension Units
cm
Dimension Value
11 X 17.5
12.5 X 10.5
12.5 X 10.5
Institution Name
St. Petrock's History Group
Notes
(1) BritishMuseum.org (2) Wikipedia.org >wiki>James_Bulwer (3) artsandculture.google.com>entity>james-bulwer (4) watercolourworld.org>artist>james-bulwer (5) National Gallery of Canada, gallery.ca.library (6) "St Petrock's Church Timberscombe", church pamphlet written by Marion Jeffrey, 2017 and "The Parish Church of St. Petrock, Timberscombe, Somerset, The Results of Archaeological Monitoring", Ref: 18-30/2020, April 2021, by James L. Brigers, PA, PROSPECT ARCHAEOLOGY, Middlezoy, Somerset (7) "TIMBERSCOMBE St Petrock", Somerset Churches Project, August 2019, Archaeological Assessment 2019, by David and Jerry Sampson, Buildings Archaeology (8) THE VILLAGE OF TIMBERSCOMBE AND IT'S CHURCH', by B. L K. Henderson and G. O. E. Henderson, printed by E. Goodman & Son, Ltd., The Phoenix Press, 1955 and en. wikipedia.org>wiki>Ewan_Christian (9) "WELCOME!', church pamphlet for the Timberscombe Methodist Church, provided by Martin and Joy Booth (10) as recalled in 2018 by Joy Booth, of The Knapp (11) as seen on the 1943 Tithe Map of Timberscombe (12) Victoria County History.ac.uk (13) English Heritage, British Listed Buildings.co.uk (14) victorianweb.org>art>architecture>sedding (15) as written by Marion Jeffrey in "St. Petrock's Timberscombe", church pamphlet, 2017
Storage Location
St. Petrock's History Group Archive
Storage Date
2019
Storage Notes
St. Petrock's History Group ARTWORK
St. Petrock's History Group PHOTOGRAPHS
St. Petrock's History Group PHOTOGRAPHS
Item Reference
SP-052
Technique
Reproductions
Citation
Rev. James Bulwer, “St. Petrock's Church as Painted by James Bulwer, 6th September 1838,” St. Petrock's History Group, accessed May 5, 2024, https://stpetrockshistorygroup.omeka.net/items/show/3286.
Comments