History of St Matthew's
St. Matthew's was built by Sir Roundell Palmer, made Lord chancellor in 1872, previously
a valued Member of the House of Commons. The building replaced a wayside chapel
close by. He wrote the following words, to be used as a memorial to this little
house of worship:
Here in past days, ere yonder House of God Rose in due state, a humble chapel stood. Trees of the Lord, in every season green, Shall guard its memory with their leafy screen. Blest, though not walking in our fathers' ways, The men who woke the wilderness to praise!
Regretfully, it is believed that this memorial was never created.
Sir Roundell took the title Earl of Selborne. The family still lives in the District, much involved in the Blackmoor Estates, in farming and fruit growing and storage. The present Earl continues the family responsibilities regarding the Parish - he is Patron of the Living.
In the year 1866 Sir Roundell Palmer moved into his newly acquired estate comprising Blackmoor and Temple. The area was moorland, with some very fine oak trees, mention of which you will find in Gilbert White's 'Natural History of Selborne'. A Roman road had once passed right through the area, and a Romano-British Settlement had been sited here also, evidence for this having been uncovered when the ground was being prepared for the various buildings erected in the 19th. Century. When Sir Roundell arrived there was a small 'independent' chapel in the area, used it seems as a chapel-of-ease by the parish (Selborne, St. Mary). On Sundays the family would travel across to Selborne for morning worship, and walk to Greatham for Evensong. After discussion with the Vicar of Selborne he resolved to build a church in Blackmoor, to become a new Parish Church for this district. He chose to build the church, vicarage, cottages, and schools before starting work on his own house. The architect he chose was Alfred Waterhouse. The London Gazette of 4th. November 1867 published the details of the new Parish of Blackmoor. The church building was finally consecrated on 18th May 1869.
The Building
The building was erected running exactly east-west, as is traditional, so that the altar is in the east, from where the sun, the light of the world, rises. Local pale grey malm stone was used, quarried near Selborne. The stone used for the dressings and quoins was the fine grained Bath Stone.As you enter the church via the west door look for a small modest plaque on the right (south) wall. This commemorates the consecration of this House of God, on Whit Tuesday, 18th. May 1869, 'built by a parishioner'.
Also on the south side is a door. This is the only access to the tower above you, in which are housed our ring of six bells and the church clock.
Access was originally via the porch on the south, the west doors being there for special occasions. An oak screen was erected to cut the draughts from the entrance - the building is open to considerable winds from the Prevailing Southwest and West. This screen was to mark Queen Victoria's Diamond Jubilee. You will find a small plaque recording this on the screen - which now lies between the tower and nave - still doing the draught proofing for which it was originally intended. Its move during the 1970s was part of a re-ordering of the west end, in which the south porch became a toilet and kitchen area, the south, doors being moved to the southern extremity of the porch, fresh oak being used to separate kitchen from nave - the West Doors then became the main entrance. The area under the tower became a porch.
Although the church was very much a complete work of creation, everything included, bells and all, within a year or so, provision was made against the need one day to extend: if you look up the church towards the altar you will see that the north and south walls are NOT identical. The north wall has arches, so-that another aisle could be added without affecting the strength of the north wall and its support of a very big roof.
As you enter the nave, notice a unity of design in the simple geometrical shapes and explicit construction of all the elements, from floor to roof.
THE FONT is immediately to your left as you move into the nave, it is placed near the door to remind us that by baptism we enter 'the Church, the People of God'. The stone used here is Purbeck marble (one piece), with columns of Derbyshire marble and fossil stone from the Isle of Purbeck.
Under the carpeting (added to assist warmth and quiet) are red and black diamond shaped tiles.
THE PULPIT stands at the end of the nave, on the left. This also stands on a plinth built of Purbeck marble. Opposite it on the right is THE LECTERN, from which the Bible is read.
Walk up the chancel steps into the choir. If light allows have a look at some of the wrought iron work both to either side of the steps and also in the choir's candle stands, where a 'daffodil' motif is used.
The paneling in the chancel, and the reredos (behind the altar) were put in as a memorial to the first Earl and Countess of Selborne and other members of the Palmer family, the panels in 1905, the carved reredos in 1917. The figures in the latter are, from left to right, St. John the Apostle, The Blessed Virgin Mary, mother of Our Lord, The Victory of the Cross, St. Mary of Magdala. (first witness of the Resurrection), and St. Matthew the Apostle (Patron Saint of this church).
The Original reredos was an uncarved slab, inlaid with different marbles, the cross in the centre of pure white marble. This reredos was transferred to the Mission Church of St. Mary Magdalene, Oakhanger (in this parish until 1927).
THE ORGAN is by Bevingtons of London. As organs go this is small - it has one manual (keyboard) with permanently coupled pedal board, and mechanical action. Originally hand pumped, it is now provided with an electric blower. It has eight stops - 16', 8' and 4'. Six of the banks of pipes are within a swell box.
Records show that on 18th May 1869 it was played by none less than Mr. W.H. Monk, composer and Editor of Hymns Ancient and Modern.
The Stained Glass
THE EAST WINDOW (over the altar) depicts the 'Three-fold' operation of the Ever Blessed Trinity: It is by Heaton, Butler and Bayne.The top section, showing the symbol of the Eternal Father Creator the Hand of God - represents the creation: at 10 o'clock you see the chaos from which creation was brought, then, anti-clockwise, the separation of the of above from below, dry land appears, then trees, plants, the sun, moon and stars, fishes, birds, and land mammals, and mankind - symbolised by Adam = Man (asleep), and Eve (out of man) arising as the completion of creation.
The lower left section shows the Lamb of God, who offers Himself as a sacrifice for the sins of the world. Around the Lamb are three ways in which Jesus described Himself: The vine, of which we are the branches, the light of the world, the gate of the sheepfold. One of the bottom two sections around the Lamb seems to be the lily of the valley. According to myth Mary's tears at the cross sprang up into these flowers, showing the movement from genuine grief to beauty and life. The other section shows an almond. This figured a great deal in the Temple in Jerusalem, as it was the first plant to grow leaves in the spring, and was therefore a sign of the passing of winter and the life returning to the land. This promise, anticipated in the Temple, is fulfilled in the Resurrection.
The lower right section shows the form of a Dove, in which the Holy Spirit descended at Jesus' baptism. Around her are images from Ezekiel. They are surrounded by flames, pointing to Pentecost, when the Spirit came on the disciples. Four of the sections are the faces of the living creatures from Ezekiel, the man, the lion, the ox and the eagle. These represent the four Gospels, Matthew, Mark, Luke and John, through which the Spirit speaks to us. The man's face, representing St Matthew, is clear rather than brown, as this is St Matthew's church. The top section contains the wheels covered in eyes, again from Ezekiel. This has several levels of meaning, but points towards the Spirit's ability to move everywhere and see everything.
In the centre and slightly lower is a diagram in Latin, which seeks to explain the relationship between the three members of the Trinity. The Father (Pater) is God (Deus), the Son (Filius) is God, the Holy Spirit (Spiritus Sanctus) is God, but the Father is not the Son, the Son is not the Holy Spirit, and the Holy Spirit is not the Father.
The four panels below were added by Hendry in 1920. They may be just four angels - they may be the four archangels Gabriel, Michael, Raphael, Uriel, who are mirrored in the West window at the other end of the church.
THE SOUTH WINDOW in the sanctuary depicts three parables of Jesus: the Prodigal Son (Luke 15), shown being welcomed home by his Father, The Lost Sheep (Luke 15), shown being found and carried home by the Shepherd, and the Pharisee and the Tax Collector (Luke 18), the tax collector is humbly asking for forgiveness, while the Pharisee is confidently thanking God for making him good and holy. The story tells how it is the tax collector who goes home justified before God.
The link between these parables is that God accepts and welcomes us when we recognise our need for Him, and ask Him to rescue us, not when we believe ourselves good enough for Him.
On the south side there is a memorial window with Our Lady, the Infant Jesus and St George. The next window on the South is the Nativity window, with Christmas story, and the adoration of the shepherds. Look for the different birds animals in this window.
The third window is as originally intended by Waterhouse, described as: of subtle coloured glass, simple geometry, and divided chestnut leaves characteristic of Waterhouse's stained glass designs, as is also his use of textured glass.
THE WINDOW NEAR THE PULPIT, showing Faith and Fortitude, is also a memorial - by Heaton, Butler, and Bayne, tracery by Hendry (1900).
THE WEST WINDOW shows St John, Our Lady, Christ crucified, St Mary Magdalene and St Matthew, in the same order as in the reredos behind the altar. Above them are the four Archangels, mirroring the east window. Each Archangel holds signs of the passion of the Christ. Below the Saints and the cross are shields containing causes of Our Lord's suffering: pillar and whip, hammer and nails, crown of thorns, ladder and spear, and in the centre, the greatest cause of his suffering, a heart, his love for fallen humanity.
Over Our Lord's head is a pelican feeding three small chicks. The pelican is an ancient symbol of the passion, because if there is no food, it will tear flesh from its own breast to feed its young. This window repays close examination, and has many other details waiting to be discovered.
This window was erected in memory of the first Lord Selborne's wife Laura, who died in 1885.
All the windows have circles at the top, either used to teach, as in the east window, or with coloured glass. These are called roundels, and may be a pun on the name of the builder.
The Cost of the Building
The First Earl kept careful records of all the costs involved in the creation of this House of Prayer: it amounted in all to £10,749.10s.11d.Additions
We have already seen how stained glass windows were added at certain times as memorials. The oak screen was put in to mark the Diamond Jubilee in 1897. In 1899 the Lych Gate was added, designed by F.L. Pearson.The Bells and Clock
The ringing chamber is immediately above you as you enter the West Door. It's height above floor level is 30 feet. The entrance to the spiral steps is through the door in the south wall of the entrance. These steps take one up to the ringing chamber, then on to the bell chamber, and finally to the parapet which surrounds the steeple. .The six bells, by Warners of Whitechapel are dated 1870. The heaviest, the tenor, weighs 8.25 cwt. and is tuned to 'A'.
Except for the war years and during major repairs in 1954 and 1970 the bells have rung out to call people to worship. With the right wind conditions they can be heard at the Bordon end of the parish, over two miles away by road.
The clock is high up in the ringing chamber. It is by Whites of London. It also dates back to the original building, and has worked well almost ever since. It has Cambridge chimes (like Big Ben).
The Churchyard
The original Churchyard is that area within the walls. It was extended at the east end just before the second world war. To the north east of the east window and across the path is the SELBORNE PLOT. Here were buried a number of members of the family, together with a few other 'special' people, including Elizabeth Petrie, nurse to the First Earl's children.As you walk round the church, look at the three dragon gargoyles around the tower. Then see if you can find the fourth…
The Church and the Parish
When the Curate George Jelf became first Vicar in 1869 there were a few small hamlets in his new parish. Whitehill would have had a few big houses.The post 1945 era saw the beginnings of what is now a considerable expansion of the village of Whitehill. The latest developments, since 1970, have brought the population to well over 4000. The area known as Bordon - after Bordon army camp - has developed more, and the two villages have grown into each other. However, Whitehill is in the parish of Blackmoor & Whitehill in the Portsmouth Diocese and Bordon is a separate parish in the Guildford Diocese.
About the Architect
Alfred Waterhouse (1830 - 1905)
Born: 19th July 1830 at Aigburth, Liverpool, Lancashire
Died: 22nd August 1905 at Yattendon Court, Berkshire
He was one of the best known of the mid-19th Century architects, engaged at the time he designed Blackmoor Church in designs for the Natural History Museum, colleges in Oxford, Cambridge, and Manchester Universities, and Eaton Hall in Cheshire.
He also designed St. John's, Brooklands, in Cheshire (1864), Brasted Church in Kent (1865), St. Mary, Twyford, Hampshire (1876), St. Elizabeth in Reddish, Stockport, Manchester (1880).
Educated as a Quaker he later became an Anglican. His work at the time was characterised by a simplified geometric Gothic, spacious and calm, with a definite emphasis on the intricate values of the various building materials, often using the vernacular building stone, and with a definite French influence.
St. Matthew’s, Blackmoor is open daily for private prayer, or just a wander around, or a quiet sit down. The Blessed Sacrament is kept at all times in the building, particularly for the benefit of the sick and housebound. It also helps the faithful to be aware of their Lord's presence in His House.
The small white light by the altar is a reminder of this sacramental Presence.
Before leaving Blackmoor
visitors might like to wander a few steps in both directions!As you come out of the churchyard, on your right is the village war memorial in the form of cloisters. Next, you come to what was the School House, and the old school building (now used as a village hall).
In the other direction, to the south of the church you pass some cottages built in the 1970s, and then the original estate cottages. The end one is still called 'Nurse's Cottage'. Just beyond, you see the familiar shape of a hop kiln, now part of a private house and also incorporating other farm buildings. On the far side of the road are two buildings-, that behind a high stone wall is the present Vicarage, that to the left was the Vicarage until a few years ago. The smaller building had been the Vicarage Stable block.
The new School (Church Aided) was built in the 1960s, and lies down the road to your left as you face the Vicarage, about a quarter of a mile. It serves the children of Blackmoor and of part of Whitehill (also in the Church's Parish), as well as other children of St. Matthew's.
Printed and Published by Blackmoor Parochial Church Council Written and Edited by the Reverend R.J. Inkpen.
Copyright (c) Blackmoor P.C.C. 1990.
Revised by the Reverend Will Hughes 2007
Vicars of Blackmoor
| George Edward Jelf | 1869 - 1874 |
| William Wathen -Howard | 1874 - 1880 |
| John Seager Warman | 1880 - 1884 |
| Edward Denison Lear | 1884 - 1891 |
| Richard Aubry Chichester Bevan | 1891 - 1898 |
| Frederick George Eyres | 1898 - 1947 |
| Adrian Denys Somerset Ward | 1947 - 1959 |
| Christopher John Butler | 1960 - 1970 |
| Richard John Inkpen | 1970 - 1995 |
| April Deborah Richards | 1997 - 2006 |
| Will Hughes | 2006 |