Englishcombe is a village NW of Bath in Somerset. Faint earthworks in the fields further west are accepted as remnants of Woden’s Dyke; it seems, then, that the church sits astride the Saxon boundary between Mercia to the north and Wessex to the south. In the landscape, the church makes a strong statement at the western side of the small settlement with adjacent Rectory and Manor Farms. Perched on the lip of the south side of an east-west valley, it commands views up and down the valley. The church is at an altitude of c.75m above OD, the hills to the south being generally at an altitude of c.120m — the highest point of all, on the parish boundary at 178m, being close to the Fosse Way SSE of Englishcombe.

The church of St Peter is Grade I listed and is of the 12thc with 14thc and 15thc alterations with a restoration in 1885. It consists of nave, S chapel and S porch, central tower and chancel. Romanesque material includes a S doorway, chancel corbel table and exterior plinth, the tower arches, N arcade, and various pieces of loose and reset sculpture.

In 1086, like much of N Somerset, the manor belonged to the Bishop of Coutances. It has been suggested that St Peter's was built for Robert de Gournay in the 12thc. It was given to the Cluniac priory of Bermondsey in 1112 by Lady Hawisia de Gournay, and later acquired by the monks of Bath Abbey in 1239.

This fascinating church at Englishcombe deserves more scholarly attention. It is certainly not unique in the area in displaying high-status building and decoration suggestive of special patronage. However, the level of ambition and quality is high: as well as the arcading noted by Pevsner, one would mention some details of the crossing decoration (e.g., the details of the north capital of the nave arch) and the chancel corbel-tables — quite enterprising in subject-matter and well-executed compared with other local examples (cf., for example, those at Priston), and exhibiting an unusual and quite accomplished scene of Samson with the Lion (Corbel S5).

S doorway

The presence of wedge-shaped blocks could imply that the original intention was to have an outer order around the tympanum, although if the extant blocks are anything to go by, this would simply have been plain and flush to the wall. The addition of the later sculptured panel suggests that it either was (or appeared to be) unfinished.

Chancel corbel tables

These corbels are to be distinguished from other local examples for the quality of their execution (cf., for example, those in the neighbouring parish of Priston) and for the inclusion of a scene which would more easily be accommodated on a capital: Samson vanquishing the Lion. One wonders if there was ever any unifying concept of the iconography of these corbels, producing what might be termed an iconographic scheme.

S4 - It is quite remarkable how a head which is so confidently unrealistic (in entirely omitting side detail and simplifying the mouth) communicates so powerfully a concentrated and convincing expression. Almost all detail has survived, there being only some erosion at the end of the nose and around the eyes. Even the lower teeth are clear. It seems clear that we see here the work of a spirited and gifted sculptor.

S6 - The master carver of the Stretton Sugwas (Herefordshire) relief of Samson and the Lion had the whole width of a tympanum to work on — as well as the expertise of the Herefordshire School. Here at Englishcombe the dramatic struggle is confined to a corbel and consequently forms are distorted by the smaller space available; however, the sculptor has confidently worked within the imposed limitations to create a fluid and powerful representation. Of course, the sculpture is very heavily weathered, all the more so since the original detail will have been very delicate — in contrast with the more conventional, robust corbels. What immediately strikes us in the presentation of Samson is the powerful curve of the body as he leans back into the lion’s left flank; not much less striking is the all-important strong reach of Samson’s right arm as it pulls back the upper jaw of the Lion. Those are broad gestures undiminished by erosion. Fine details mercifully quite well preserved include Samson’s tunic (including the belt) and his long hair (though his face has gone). The lower part of the Lion’s maw has disappeared, along with much detail of the legs (although details of the paws have survived), but its body bulges out strongly against Samson’s efforts. Altogether, this corbel calls for attention: one wonders, for instance, why this corbel alone is so ambitious in presenting a dramatic event rather than the usual static subject; there cannot be very many corbels of this type. (It has, however, been noticed that Corbels 4 and 7 on this south side also have dramatic quality — seeming to catch fleeting expression rather than suggest ‘character’.)

The author picked up an idea at the Anglo-Saxon Conference on 8^th May 2010 at the Courtauld Institute, New Light in Dark Places: Recent Discoveries & New Direction in Anglo-Saxon Studies: a full-frontal representation of the human head with staring eyes was an accepted icon for a visionary. Thus, the corbels expressing surprise may have been meant as representations of visionaries. Perhaps the individuals on the relevant corbels are experiencing some kind of epiphany?

N4 - A head clearly related to those on the South (S4, S7) which convey an expression (of surprise ?) rather than a character. However, the forehead in this sculpture is not heavily furrowed although the eyes are similarly staring.

NW nave buttress carvings

These drawing lines could be casual or didactic in purpose, or perhaps even setting-out markings for a design. Tracing surfaces are however genernally associated with the Gothic age rather than the Romanesque.

E tower arch, N side

Strikingly, this has a decorated outer order on the inner west, side: consequently, one wonders whether the original build had a similar shaft with capital etc. on the south side. On the other, east, side there may be remnants of the original arch. (The capital in the NW angle of the chancel is taken to have been part of the north arcade.) N capital: One of the many important features of this church, and echoed (as stated above) in the adjacent north arcade and at nearby Twerton, this is a startling appearance of a motif common enough in Western France. The church guide refers to the carved capital as a ‘Devil’s Head’. However, this motif must be more complex. The author noted (at the Courtauld conference mentioned above) that a similar idea occurs in Anglo-Saxon metalwork, specifically on the Alfred’Jewel. There must be an interesting history behind what can so easily be dismissed from intellectual probing by so definitive an identification with ‘the Devil’.

N Arcade

Could the capital to the E have been intended to support the chancel vault?

Patronage

Presumably the sculpture was resourced by Bermondsey Abbey which enjoyed royal patronage. One wonders, though, why Englishcombe was invested in so lavishly.