St John de Sepulchre Finklegate
St John de Sepulchre (photo E M Trendell ARPS) Exterior
The well-proportioned, ninety-foot high tower has a crisp silhouette with each 'stage' stepping back from the one below. The elegant 'flushwork' parapet and corner pinnacles are from 1901. The clock face is eighteenth century. The weather-cock commemorates the Peace of Utrecht in 1713.
Porch (photo E M Trendell ARPS)
The entrance is on the north side. The two-storey porch has two friezes of shields over the doorway. The alternating letter "I" stands for Johannes (John). Above is an elaborate niche for a statue. The porch flintwork is 'knapped and squared'. The corner pinnacles start below the roof line. The stair turret to the 'parvise' (upper room) blocks the window jamb, as if it were an afterthought.
Continuing clockwise round the church, notice:
- the uniform nave windows in the fifteenth-century Perpendicular style with their strong vertical emphasis in the tracery.
- the rough flintwork of the west wall of the north transept and the
- evidence of a blocked opening, suggesting that it is part of an earlier structure. The door is nineteenth century.
- on the far side of the transept, the recently rebuilt turret that once housed the stair to the rood loft.
- the corner of the chancel, chopped back to allow for heavy market-day traffic.
- the flatter arches of the chancel windows indicating a later date than the nave.
On the south side:
- the blocked opening and rough flintwork on both side walls of the south transept, contrasting with the smooth 'knapped' flints of the end wall.
- the massive brick arch at the end of the nave, above the chancel roof, built to lessen the weight on the chancel arch inside.
- the south wall of the nave is identical to the north side.
- the way the tower stair turret pushes the belfry window off-centre.
Interior
Font (photo E M Trendell ARPS)
In the porch, notice the fine vaulted ceiling and the carved medieval inner door before entering the nave. This is a light and lofty space. Mock arches frame the windows and connect the walls visually to the fine timber-framed roof overhead. The entrances to the tower and to the two transepts are marked by tall, narrow arches. The narrow recess, south of the tower arch, was for storing the staves on which processional banners were carried through the streets. The maker of the font has had fun carving the lions. The wide, tall chancel arch appears to have been designed to relate to a higher chancel roof. Its sides have been cut out to accommodate the original medieval screen.
The chancel, hidden by a curtain, has a steeply pitched roof. It contains several interesting wall monuments and a medieval consecration cross on the south wall.
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John Aldrid Scott Reredos(photo E M Trendell ARPS)
Sixteenth century - The Reformation brought great changes. Church wardens' accounts of the 1540s indicate how the church was decorated and furnished before and after the changes. Stained glass windows, including one of St Thomas Beckett, were replaced by clear glass. The richly coloured rood screen, with its pictures of the saints was sold along with communion vessels and other plate. Wall paintings were whitewashed over.
Nineteenth century - St John took on a new lease of life under the influence of the high church Oxford Movement. Back came medieval style pews, a painted rood screen, choir stalls in the chancel, a new organ, a stained glass window over the altar and an elaborate reredos( by John Oldrid Scott).
Late twentieth century - The historic fabric has been extensively repaired. Only minor alterations have been made to accommodate the Orthodox Congregation who used the church until recently.