(The following text is the copyright of Ugborough Parochial Church Council)
A booklet containing all this information, plus photographs, can be obtained in St. Peters Church.
This house of God has for some years been called St. Peter’s but there is no record of it having been established with a patron saint. A Church existed in Ugborough before 1121 when it was listed as part of the original foundation of Plympton Convent. A letter written by John, Bishop of Exeter to Martin, Prior of Plympton confirming the convent’s ownership of properties includes “et ecclesiam de Uggaburgh”. The letter mentions Willielmus who was William Warelwast, nephew of William the Conqueror and founder of Plympton Convent in 1121; therefore Ugborough Church must have been part of the original foundation. There was a dispute over the right to use the land the church is built on and a lawsuit dated 30 May 1255 still exists. It states that Nicholas de Plympton (Rector) gave Ralph de Baucombe (Lord of the Manor of Baucombe) 20 shillings in silver to claim right to the land “to Nicholas and his successors and his church for ever”.
All that remains of that church is the Nave and probably the old Font. Only 25” of the original decoration is left, this being the portion set into a pillar and so couldn’t be reached when the font was in a different part of the church. At some stage in the long history of the Church the fashion changed, the heavily decorated Norman honeysuckle and saw tooth design was deemed to be out of place and was removed. At this time the rim was also cut down. The bowl rests on its original circular shaft with moulded circular base.
A book on Devon Churches (Ashworth) describes this font as “disused save on rare occasions when someone asks for an infant to be baptised in the ancient font”. The ‘new’ one is Victorian and disliked by many people, however, one day in about 500 year’s time, it may be regarded as a very important ancient example of its’ art.
Near the Norman font you will see the old stocks which were once situated outside the churchyard walls, also the Angel above the door to the Choir Vestry. It used to stand on the old pulpit sounding board in the days when that stood against the centre pillar.
Before leaving the Choir Vestry we should mention music. Apparently it was here between the two tower piers that the wooden gallery was situated and completed in 1776 at a cost of £45 0s 0d. Until the late 1770’s singing was purely congregational led by an appointed person with a pitch pipe. The fashion for hymn singing caught on following John Wesley’s influence and according to Churchwarden accounts Ugborough followed suite. Payments were made for instructing the singers, purchasing a Bass Viol, candles and singing books and even a Hautboy (a type of oboe) the reeds for two years use cost 5s 3d.
You will notice the Stone Seats against the wall of the north aisle put there for the aged and infirm, for you must remember that there was little or no seating in a church. People stood or knelt on the rush covered floor. Hence the saying perhaps, “the weakest go to the wall.
Take a close look at the Pillars. The church is described as a “long and massive granite church, remarkable for the peculiar octagonal piers of the nave arcades of Decorated if not Early English in character, tastefully built in red and brown stone.” For all their massive size, they are rather elegant with their chamfered edges and colourful pattern. Also note the typical Devon Wagon vaulted roof, plastered in the Nave.
During the rectorship of William de Kylkenny (1301-1329) the church was restored and enlarged. On the 28th October 1311 the High Altar was dedicated and the new aisles were consecrated in February 1322. This restoration work was carried out due to dangerous state of the building; the nave roof had thrust out the north sidewall to a dangerous degree and the building of the side aisles acted as a buttress to prevent the pillars leaning out any further. Note the thickness of the wall on the North Aisle compared with at on the South Aisle. It was as this time that the beautiful work on the ceiling of the aisles was carried out, but only that of the North Aisle remains. The Roof Bosses in the North Aisle are early 14th Century. The second is of St. Eloy the patron saint of Blacksmiths and Goldsmiths. Next is the much talked about white sow and farrow of piglets, thought to refer to St. Brannock, a Welsh Abbot of 550 AD who crossed to Somerset as a missionary. He had a vision that he must not build a church until he found a white sow and her farrow – this he did at the village of Braunton, which is where he founded his church. There is no evidence linking Ugborough to Braunton so our carving may be here because the travelling craftsman wood carver liked it. There is an identical roof boss in Exeter Cathedral beautifully painted and gilded and said to be nothing to do with St. Brannock, but is the symbol of St. Swithen. The centre boss is that of a woman with two small dogs on either side. The last is a face with bats ears and horns, maybe meant to represent Satan, or it has been suggested ‘Jack in the Green’ an ancient mythical figure representing growth and the rebirth of Spring.
The Pulpit is made of Beer stone. It is soft enough to carve into intricate patterns. Originally it would have been brightly coloured just like the rood screen.
The first Church Organ was installed in 1868. Our present organ was constructed in 1940 and believed to be made up of two taken from churches in Plymouth.
Turn now into the North Transept The transepts were added on to the church in 1740. The North Transept is believed to be dedicated to the Fowell family from Fowellscombe manor. The fine brass lady is Eleanor Fowell who died in 1507. You can just make out on the floor of the North Aisle where she and her husband (who has disappeared) used to lie. The pews are boxed and raised, typical of those belonging to a ‘Lord of the Manor’. The tracery of the window in this transept is, with that of the window at the end of the South Aisle the best in the church. They are part of the restoration work of 1861 and of the perpendicular style.
Pass into the North Choir Aisle and look at the Parclose Screen, which has been inappropriately repaired at the top. On the south side the screen is more finely carved screen with a curious coat of arms to William de Fountain and his wife Marie. He lived at Bowcombe. She was the daughter of John Carswell of Peter Tavy and she died in 1585. It is thought this screen may have been a memorial to her. Opposite you is the small door into the Vestry.
We know nothing about when the present altar was built or the carvings made; we can tell you that this is a Sedilia. Usually this was the most ornate feature of the Chancel. The carving and work does not look very old, but we have no details about them or the other furniture in the church.
The stone coffin top let into the floor is thought to be 13th or 14th century and was found in the churchyard and placed in its present position during Victorian restoration work.
Lady Chapel and Priests Door This is good example of a 15th century Piscina, similar to the stoup although for use by the Priest during mass. It would have drained into the consecrated ground in the churchyard outside. A drainage ditch around the outside of the building was covered by slate, almost like a bridge. This sent rainwater straight into the priests door causing it to rot away completely.
The Rood Screen is one of Ugborough Church’s finest treasures. The screen was erected between 1419 and 1422, now partly cut down and its coving removed. There are 32 painted panels. The figures are as follows:
1) St. Appollonia (with her tooth in pincers)
2) A female saint with fair hair, martyr’s palm and carnation
3) The Annunciation
4) Gabriel with the Lily Pot beside him
5) Our Lady and Child enthroned
6) The Wise Man Caspar with the Star
7) Melchior, pointing
8) A panel which does not belong to the set
9) Another panel from somewhere else. There were probably angels here to balance the two.
10) Others in the Assumption of the B.V.M.
11) St. John the Baptist, (Lamb on his book wearing robe with camels head dangling. Matt.3 etc.)
12) St. Edmund tied to an oak tree
13) Sibils
14) St. Lucy (with sword in her neck) (These are the clues
15) St. Agatha (with sword through her breasts) to the Saints)
16) Executioner of St. John the Baptist, whose body lies at his feet. He is holding John’s head to give to Salome.
17) Salome with a charger and the body of John lying at her feet.
The figures and paintings are the original and from the costumes date from the first quarter of the 16th century
Inside the church door is the original Stoup (now containing the Offertory Box). These recessed basins contained holy water consecrated every Sunday. All entering the church dipped their finger in and made the sign of the cross to remind them of baptismal vows.
Above the North Porch is a room called a Parvis or chamber. In Ugborough there is a local word passed down through the years by word of mouth “The Comply (or Cumply) Garret” to describe this room. It is believed to be a corruption of the word “Compline” being the last service of the day following which the Priest (who may have travelled from Plympton) went to rest before the first early morning service. This room may have been the safe place for church plate, documents, bibles, etc to be kept. Amour may have been stored here, as at this time the Church was responsible for raising the local quota for the Militia. It may well have been Ugborough’s earliest schoolroom as Priests were expected to teach Latin to local boys.
The outer door of the porch has the date 1731 marked upon it in nails, presumably the date when the door was remade.
The church porch was a very important feature. Its function was far more than keeping the wind and rain out of the main building. It was here that penitents received absolution before entering the church; those breaking marriage vows stood; women knelt to be ‘churched’ after the birth of a child; baptismal service commenced; marriage banns called; part of the marriage service held, civil business carried out; executors of wills made payments of legacies, coroners held courts and public notices exhibited.
The original Norman Tower was very much smaller and squatter being only 18ft square and strong enough to support itself. The present ‘new’ embattled granite tower is very elegant and imposing, rising in three stages, completed with 12ft pinnacles and having buttresses set square. The tower is a massive 25ft square and 94ft high. The weather vane has been regilded and the inside of the tower and bells restored.
The tower has eight Bells, The Tenor traditionally believed to weigh 24 cwts. The 4 bells of 1554 must have been added to between then and 1742 when there were 5 bells and they wanted them recast into 6 with added metal The two additional bells were added in 1813.
The third, fifth and eighth are inscribed respectively:-
“To call Christ’s flock aloud I sing” 1762
“God preserve the Church and King” 1764
“Religion Death and pleasure makes me ring”
They were cast by T. Bilbie of Cullumpton. The Clock was renewed in 1780. The Sundial on the South Porch is dated 1758.
The Clock was made in 1780, an anchor escapement with wrought iron frame. It is in good working order now and has a new clock face.
The present Church Steps were built in 1848 at a cost of £25. 0s 0d. The Lych Gate was built in 1857.
From the income derived from the will of Dame Margaret Slaney, The Worshipful Company of Grocers purchased the benefice in 1786 and have been patrons of the church ever since.
