“A fine large parish church below the bridge on the banks of the Avon”
John Leland 1542
The parish of Holy Trinity has its origins in a Saxon Minster which administered an area roughly corresponding to the current hundred of Bradford. The Minster left a legacy of seven chapelries to the parish; Atworth, Broughton Gifford, Holt, Limpley Stoke, South Wraxall, Westwood and Winsley, all of which had assumed parish status by the mid 19th century. The parish and the wider area of North and West Wiltshire have a long history of non-
The present church was built around 1150 and originally consisted of a chancel, nave and maybe a tower. The chancel was lengthened around the beginning of the 13th century, and a section of the south east wall rebuilt in 1707. A Lady Chapel was added to the north-
Nothing much is known about the church for about two hundred years after the Reformation. The tower was struck by lightening in 1612, which destroyed the clock frame and caused a great deal of damage. The 18th century was wealthy from the cloth trade and saw a great deal of repair and refurbishment to the church. The chief remnant is the painting of ‘The Last Supper’ which originally hung over the east window and is now in the choir vestry and has been described as ‘indifferently painted by a local artist’. The painting is a copy of a mural in St Mary's Weymouth by Sir James Thornhill RA, who, among other work, painted scenes from the life of St Paul in the dome of St Paul’s Cathedral (see
The bells were augmented to eight in 1735 and the first chimes were installed the following year. Only a small fragment of the Norman nave remains in the north-
The Minster originally belonged to the nunnery at Winchester, but most of the land was transferred to Shaftsbury Abbey in 1000 AD after the murder of Edmund, King and Martyr, and the church was appropriated by the Abbey in 1343. After the attainder of William Byrde (see below) the patronage passed briefly to the crown, then to the Dean and Chapter of Bristol and finally to the Dean and Chapter of Salisbury. Former Vicars of Holy Trinity include William Byrde, also Rector of Fittleton and chaplain to Lord Hungerford, who was hanged, drawn and quartered in 1540. His successor was Thomas Morley, the last Abbot of Stanley, a Cistercian Abbey between Chippenham and Calne, who became the suffragan Bishop of Marlborough in 1537 after the dissolution of the abbey. Frederick Blomberg, a son of George III, was twice an absentee Vicar in the early 19th century and the town still reveres Canon Jones who ‘discovered’ the Saxon Church and was largely responsible for the rebuilding of 1864-
During the early 20th century the chancel was re-
There is a picture on the north wall of Holy Trinity. It is a copy of Christ Blessing by the flemish master Quentin Metsys, and it is one half of a painting dating from ca. 1500. The original was given to the church in 1940 by Major TCE Goff of The Courts, Holt, a great grandson of William IV, and was thought at first to be Head of Christ by Luis de Morales (ca. 1510–1586), a Spanish painter the piety of whose work earned him the nickname 'El Divino'. In 2006 it was tentatively identified and in 2012, after a long period of legal process, authentication and provenance, it was sold to a private buyer for over £1.5 million. The faculty for the sale stipulated that the proceeds (less seller’s premium, insurance, secure storage etc.) should be used for Mission; and it was agreed that this would have its basis in the refurbishment of the church to make it fit for 21st century use.
The new Rector, Canon Joanna Abecassis, had already asked the congregation to consider a ‘Vision’ for the church. After wide consultation this was expressed as a recommendation for a clean, bright, shining, warm, welcoming and flexible building that would be ‘user friendly’, open to the community, and an outpost of God’s Kingdom on earth with a spiritual presence that garners respect. The outcome was an extensive refurbishment during 2016.
The photographic copy of Major Goff’s gift is still in the frame in which the original was gifted to the church.
© Anne Willis