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I Location

II General Description

The church consists of an aisleless nave and chancel of 12thc. origin, a Perpendicular W tower and S porch. The chancel has two 12thc. clasping, corner buttresses at the E end with one central buttress shortened to make way for a large 14thc. window. The N and S walls have central buttresses. The nave has three buttresses intact on the S side; similarly on the N side. There is a 12thc. blocked N doorway to the nave and a plain deeply splayed high-level window also in the N wall. In the S wall the slightly splayed internal reveals of the S doorway survive. In the chancel there are two plain, deeply splayed high-level windows in the N wall and one remaining in the S wall. Sections of a plain chamfered interior string course remain in the chancel. 12thc. sculpture is found on the chancel arch and the font.

IV Interior Features

1. Arches

a. Chancel arch/Apse arches

(i) Chancel arch

Round headed, of two orders to E and W.

First order

Shared, chamfered plinth, no bases. Attached keeled nook-shafts are cut into the angles of the square responds. The shafts terminate in worn attic bases on the lowest course above the plinth. The capitals are also coursed with the masonry of the responds.

N capitals (E and W): plain necking, simple waterleaf consisting of one broad leaf across the angle with a raised central vein and, flanking this, a tall narrow leaf with raised vein.

S capitals: plain necking, double-scallop, with angled wedges between.

Hollow-chamfered impost with a round moulding set between two grooves on the lower surface of the upright. The arch has keeled angle rolls.

Second order E face

Chamfered plinth, worn attic bases. Attached nook-shafts.

N capital: with narrow fluted leaf forms

S capital: with broad, fluted leaf forms, the broadest on the angle. Impost continuous from first order. Angle roll in the arch. No label. Vestiges of paint on S side. Evidence of repairs in buff sandstone.

Second order, W face

As E face, except capitals and arch.

N capital: simple waterleaf with circular notch between the leaves at the base.

S capital: Symmetrical design consisting of a reeded leaf form, similar to a sheaf of corn, bound at the centre and falling to L and R above. In the arch, a single row of chevron lateral to the face, with the profile (from soffit) roll/hollow, with angled mouldings defining the edges of roll and hollow. The label is chamfered with a small roll between grooves on the face. The label terminates short of the imposts owing to the insertion of Perpendicular unglazed windows to either side of the arch.

V Furnishings

1. Fonts

(i)

The bowl is square at top with rounded angles, becoming round at the bottom, where there is a cable moulding (ie. like a block capital). The bowl sits on a modern, faceted stem, above an inverted cup-shaped base, which might be another (plain) font with a roll-moulded rim.

The (upper) bowl is deeply carved with boldly schematised figures as follows:

E face: Kneeling lamb (head lost) above a grotesque lion mask with almond-shaped eyes, wrinkled nose and cheeks, prominent teeth, ears and bands of beading on the forehead. Below the mask are locks of a mane. To the R, rising from the rim, are two large reeded leaves with beaded edges.

SE angle: A damaged and stylised interpretation described by VCH as a figure in a cape with hands in prayer. If so, the head is worn to a stub and the hands are lost. The feet, however, remain.

S face: A pair of frontal, standing figures, each with a book in his L hand, and the R hand raised, palm out, in blessing. They have almond-shaped eyes and the one on the R retains traces of tonsure-like hair.

SW angle. Defaced.

W face: Two more figures similar to those on the S face. No hair remains.

NW angle. A standing figure with both hands together, palms outward. The head is lost.

N face: A winged figure (angel or monster) flying to L, above three leaves similar to those on the E face.

NE angle. An atlas-figure, but with his R hand on his hip, and his L hand holding a cup-like object. The top of his head is lost.

The font is situated at the W end of the nave, centrally placed before the tower arch.

Dimensions

VII History

The advowson of Curdworth church followed the descent of the Manor of Berwood until the attainder of Edward Arden in 1583 when it became attached to the Manor of Curdworth. In 1618 the Bishop of Coventry and Lichfield collated to the living. Howard Dyland surrendered his parts of the advowson to the Bishop of Birmingham in 1929.

VII Comments/Opinions

IX Bibliography