Gothic Revival. Does that style resonate with you? It should. You are standing before a testament to that very architecture. This is Saint Mary and Saint Nicholas, the parish church of Littlemore.
Littlemore had no parish church until the 19th century. Before that, St Nicholas’ Priory had a priory church. In 1828, John Henry Newman became vicar of St Mary’s. He soon began advocating for a separate church in Littlemore.
Newman successfully petitioned for the construction of a new church. Architect H. J. Underwood designed Saint Mary and Saint Nicholas. Construction finished in 1835 and it was consecrated in 1836. The chancel and northeast tower were added later in 1848. The vestry came in 1918.
The church became a model for smaller churches of its time. Its design influenced many other Gothic Revival structures. Matthew Arnold had earlier described Littlemore as dreary. But that changed.
Newman’s tree-planting transformed the landscape. In 1868, he noted that Littlemore was now green. The church played a role in this transformation.
Let’s step inside. Notice the architecture and the light. Newman’s mother laid the foundation stone on July 21, 1835. Underwood estimated the cost at 650 pounds.
Originally, the church was rectangular. It had buttresses, a west door, and a belfry. Four long narrow windows lined the north and south sides. A three-light east window sat above a small sanctuary.
The interior was austere. It resembled the Unitarian chapel at Banbury. J. H. Parker admired it. He selected it as a model for modern churches. Newman brought an old stone font from St Mary’s. He believed Littlemore children had been baptized in it for generations.
Newman also built a stone altar at the east end. In 1837, J. R. Bloxam became curate. Newman allowed him to embellish the church.
Around 1846, plans emerged to enlarge the building. These plans included a chancel, a tower, and a spire. A lych-gate would mark the entrance to the churchyard. Joseph Clarke was the architect. Charles Crawley contributed generously to the cost.
The enlarged church was completed in 1848. However, the spire was never built. The tower couldn’t support its weight. Newman called the new church a gem.
The original church’s belfry was removed in 1885. The bell, supplied in November 1848, remains in use. A crucifix from Oberammergau was added in 1901. It honored the centenary of Newman’s birth.
In 1913, a carved wooden chancel screen appeared. Wooden figures from Oberammergau topped it. A carved screen was installed before the west door in 1909. The font cover memorialized Mrs. Jeffries in 1924.
A priest’s vestry was built in 1918. Tiles replaced the original Stonesfield slates on the nave roof. A memorial to Mrs. Newman stands inside. It was erected by her son. Memorials to the dead of both World Wars were added in 1950.
Originally, the windows were clear. Only a single red pane marked the east end. In 1840, Bloxam provided glass for the east window. Thomas Willement created figures of the Virgin, St Nicholas, and the Evangelists. He also depicted the Passion and Resurrection.
Willement also made four other windows in the nave. These were gifts from the parish’s good men, good wives, maidens, and bachelors. Willement himself provided glass for the quatrefoil above the west end windows.
The richly colored glass darkened the church. Newman considered adding extra windows under the roof. When the new chancel was added, the glass from the original east window was reused.
Revd Vernon T. Green, vicar from 1872 to 1896, sought to lighten the church. He inserted two clear glass windows with single central figures. These were said to be the work of William Morris.
The old east window was removed in 1900. Messrs Shrigley and Hunt of Lancaster replaced two windows on the north side. Lewis Davis designed the east window. A part of St George’s appears in his design.
The register of baptisms and burials dates from 1836. The marriage register begins in 1846. The plate includes 19th-century pieces. Joshua Watson and J. W. Bowden, friends of Newman, gifted some of them.
This church embodies Littlemore’s history. It reflects Newman’s influence. It stands as a testament to faith and community. Take a moment to appreciate its beauty and significance.