Abbey Church of St Mary, St Sansom and St Branwalader, Milton Abbas. Grade: I
NGR: ST7983 002300 Lead author: PS
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Milton Abbey is located mid-way between, Blandford Forum and Dorchester close to the village of Milton Abbas. Milton House and other buildings to the west of the church belong to Milton Abbey School and are private. Public access to the Abbey only is via a footpath from Milton Abbas at Lower Lodge.
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1. The church from the south east
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A note about the house
Milton House, designed by Sir William Chambers, was built between 1771 and 1776. The Great Hall, built by Abbot William Middleton in 1498, was incorporated into it. Apart from the church (1), none of the mediaeval abbey buildings have survived. An archaeological dig at the east end of the Abbey found foundations in situ
(Ref. 1)
Milton House, designed by Sir William Chambers, was built between 1771 and 1776. The Great Hall, built by Abbot William Middleton in 1498, was incorporated into it. Apart from the church (1), none of the mediaeval abbey buildings have survived. An archaeological dig at the east end of the Abbey found foundations in situ
(Ref. 1)
An outline history of the church
The first church on the site was founded by King Athelston who reigned between 925 and 939AD. The King himself is buried at Malmesbury Abbey in Wiltshire. In 964, King Edgar dismissed the resident secular priests and replaced them with Benedictine monks. The market town of Middleton grew up alongside the Abbey. Fire destroyed the original building and all related documents in 1309 after the wooden spire was struck by lightning.
The building of a new church was started, probably by Walter de Sydeling (abbot 1292-1315) soon after the fire. By 1344 the eastern chapels, the presbytery, the aisles and the crossing to the level of the clerestory windows had been built when work stopped due to lack of funds and the Black Death. In the late 15th century, under William Middleton (abbot 1482 -1522) the central tower was finished, the north transept was rebuilt and the south transept finished.
During the Dissolution of the Monasteries between 1536 and 1541 the eastern chapels and the monastic buildings were pulled down and the monks dispersed. Only the Great Hall remained which, together with other monastic properties, was sold off. The church continued as a private chapel. An aisled nave to the west would have completing the cruciform plan but was never built. The central tower is now at the west end.
Sir John Tregonwell bought the Abbey and estate in 1540 for £1000. The family line continued in residence by inheritance until John Strachan sold the estate to Joseph Damer in 1752. The new owner immediately set about reshaping the estate to his liking. This included razing the entire town of Middleton and creating the new model village of Milton Abbas on a site half a mile to the southeast and out of sight of his mansion and garden. A new church, St. James, was built in the village (see separate account). Joseph Damer died in 1798 and his heirs sold the estate to Charles Joachim, Baron Hambro, a merchant banker from Denmark.
Later history
The fabric of the presbytery, crossing and transepts was restored in about 1790 by the architect James Wyatt who was responsible for the removal of many of the medieval features. He was also responsible for clearing the town graveyard and using the grave slabs and monuments as rubble infill beneath the aisle floors. Many of these have since been recovered during later work.
Work was again carried out by Gilbert Scott in 1865 bringing the church to its present state. He removed the plaster and whitewash applied by Wyatt, underpinned the tower piers and restored the stonework both inside and out, including rebuilding the flying buttresses. He also restored the aisle floors to their original level excavating the grave slabs in doing so. The Choir side walls were also designed by Scott (see later).
In 1933 the church was bought by the Ecclesiastical Commission and handed over to the Diocese of Salisbury.
The building materials in general
The main building stones used in the church walls are knapped Flint obtained from local Chalk pits, Portland limestone from the Vale of Wardour in Wiltshire (Wardour Portland), probably from a Chilmark quarry, and Ham Hill Stone from Stoke-sub-Hamdon in Somerset.
The window surrounds of the aisles and clerestory (14/15th century) are almost uniformly of the same materials, being Wardour Portland side walls with Ham Hill Stone arches, mullions and tracery. The roofs are of lead.
Chalk blocks were used as infill for the vaulting in the interior (24). The church is situated in an area of Cretaceous, Zigzag Formation Grey (Lower) Chalk so the raw material would have been obtained locally.
The first church on the site was founded by King Athelston who reigned between 925 and 939AD. The King himself is buried at Malmesbury Abbey in Wiltshire. In 964, King Edgar dismissed the resident secular priests and replaced them with Benedictine monks. The market town of Middleton grew up alongside the Abbey. Fire destroyed the original building and all related documents in 1309 after the wooden spire was struck by lightning.
The building of a new church was started, probably by Walter de Sydeling (abbot 1292-1315) soon after the fire. By 1344 the eastern chapels, the presbytery, the aisles and the crossing to the level of the clerestory windows had been built when work stopped due to lack of funds and the Black Death. In the late 15th century, under William Middleton (abbot 1482 -1522) the central tower was finished, the north transept was rebuilt and the south transept finished.
During the Dissolution of the Monasteries between 1536 and 1541 the eastern chapels and the monastic buildings were pulled down and the monks dispersed. Only the Great Hall remained which, together with other monastic properties, was sold off. The church continued as a private chapel. An aisled nave to the west would have completing the cruciform plan but was never built. The central tower is now at the west end.
Sir John Tregonwell bought the Abbey and estate in 1540 for £1000. The family line continued in residence by inheritance until John Strachan sold the estate to Joseph Damer in 1752. The new owner immediately set about reshaping the estate to his liking. This included razing the entire town of Middleton and creating the new model village of Milton Abbas on a site half a mile to the southeast and out of sight of his mansion and garden. A new church, St. James, was built in the village (see separate account). Joseph Damer died in 1798 and his heirs sold the estate to Charles Joachim, Baron Hambro, a merchant banker from Denmark.
Later history
The fabric of the presbytery, crossing and transepts was restored in about 1790 by the architect James Wyatt who was responsible for the removal of many of the medieval features. He was also responsible for clearing the town graveyard and using the grave slabs and monuments as rubble infill beneath the aisle floors. Many of these have since been recovered during later work.
Work was again carried out by Gilbert Scott in 1865 bringing the church to its present state. He removed the plaster and whitewash applied by Wyatt, underpinned the tower piers and restored the stonework both inside and out, including rebuilding the flying buttresses. He also restored the aisle floors to their original level excavating the grave slabs in doing so. The Choir side walls were also designed by Scott (see later).
In 1933 the church was bought by the Ecclesiastical Commission and handed over to the Diocese of Salisbury.
The building materials in general
The main building stones used in the church walls are knapped Flint obtained from local Chalk pits, Portland limestone from the Vale of Wardour in Wiltshire (Wardour Portland), probably from a Chilmark quarry, and Ham Hill Stone from Stoke-sub-Hamdon in Somerset.
The window surrounds of the aisles and clerestory (14/15th century) are almost uniformly of the same materials, being Wardour Portland side walls with Ham Hill Stone arches, mullions and tracery. The roofs are of lead.
Chalk blocks were used as infill for the vaulting in the interior (24). The church is situated in an area of Cretaceous, Zigzag Formation Grey (Lower) Chalk so the raw material would have been obtained locally.
Wardour Portland stone (2a, 2b)
The stone is the same age as Dorset Portland stone but has a different texture. Stone is known to have been worked at least as early as the 13th century. The building stones are buff coloured when freshly quarried and have a fine sandy texture but acquire a greenish tinge when weathered due to the presence of diffuse particles of glauconite.
The stone is the same age as Dorset Portland stone but has a different texture. Stone is known to have been worked at least as early as the 13th century. The building stones are buff coloured when freshly quarried and have a fine sandy texture but acquire a greenish tinge when weathered due to the presence of diffuse particles of glauconite.
2a. Ashlar Wardour Portland
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2b. : Loupe of Wardour Portland stone
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A note on re-used of Wardour Portland in the church
Large areas of the 14th-century walls have been built with re-cycled ashlar Wardour Portland. Much of this stone has acquired a pinkish tinge as it has suffered from exposure to heat. Some blocks retain marks of burning (3). A number of blocks show mason’s marks (4a, 4b).
Large areas of the 14th-century walls have been built with re-cycled ashlar Wardour Portland. Much of this stone has acquired a pinkish tinge as it has suffered from exposure to heat. Some blocks retain marks of burning (3). A number of blocks show mason’s marks (4a, 4b).
3. Fire damage
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4a. Mason's mark
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4b. Mason's mark
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Ham Hill Stone (5a, 5b)
The stone is a medium to coarse grained shell brash limestone frequently showing cross-bedding. It consists of a well cemented mass of shells with a micrite matrix and diffuse spheres of iron hydroxide which gives it a distinctive honey colour when fresh. The shell components are largely fragments of brachiopods and echinoids.
Ham Hill Stone appears to have been used in the building only from the 15th century onwards so, unlike the Portland Stone, fresh stone was used to complete the church to its present state.
The stone is a medium to coarse grained shell brash limestone frequently showing cross-bedding. It consists of a well cemented mass of shells with a micrite matrix and diffuse spheres of iron hydroxide which gives it a distinctive honey colour when fresh. The shell components are largely fragments of brachiopods and echinoids.
Ham Hill Stone appears to have been used in the building only from the 15th century onwards so, unlike the Portland Stone, fresh stone was used to complete the church to its present state.
5a. Blocks of Ham Hill Stone in an Abbey wall
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5b. Loupe of Ham Hill Stone
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The Stonework
Much of the walling is constructed, both inside and out, of a horizontal pattern of a row of ashlar Wardour Portland with rows (which vary in number) of knapped flint between. In parts of the walls this pattern is less obvious and much of the work at the west end is knapped flint with scattered rubble blocks or flint and mortar.
Note: The above is referred to as ‘horizontal patterning’ in the text (6).
The exterior in more detail
Because there is no nave, the West Front of the building consists of the west walls of the North and South Transepts either side of the Tower (7).
Much of the walling is constructed, both inside and out, of a horizontal pattern of a row of ashlar Wardour Portland with rows (which vary in number) of knapped flint between. In parts of the walls this pattern is less obvious and much of the work at the west end is knapped flint with scattered rubble blocks or flint and mortar.
Note: The above is referred to as ‘horizontal patterning’ in the text (6).
The exterior in more detail
Because there is no nave, the West Front of the building consists of the west walls of the North and South Transepts either side of the Tower (7).
7. The west front
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8. A north transept window
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The North Transept was rebuilt in the 15th century. Full height Ham Hill Stone windows were inserted into the east and west walls (8). The right-angled buttress at the N.W. corner was reconstructed and refaced in the late 17th century. On the west face is a rectangular panel with the inscription 'Thomas Royden, James Hobel, Church Wardens in Anno Dom. 1683’ (9).
9. Dated inscription on a north-west buttress
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10. The north wall of the North Transept
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The lower part of the transept north wall has the remnants of cloister arches embedded in it below the large 16th century window in Ham Hill Stone (10, 11). Some of the stone in the cloister pillars is an oolitic limestone possibly Corallian limestone (12) from the Marnhull/Todber area about 13 miles north of Milton Abbas. The wall itself is flint with a variety of rubble stone including Purbeck Marble (13a, 13b). The upper wall at window height is horizontally patterned.
11. The cloister arches
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12. Loupe of oolitic limestone in the cloister pillars
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13a. Purbeck Marble rubble in the north wall of the North Transept
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13b. Loupe of the rubble stone
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The Tower (14) has a porch of Ham Hill Stone added in the 19th century (Gilbert Scott 1856) (15). This is now the main entrance to the church leading directly into the Crossing.
The lower stage of the Tower belongs to the 14th century. The blind arches either side of the tower were originally designed as the entry points from the North and South Aisles into the Nave aisles. The infill of these and the tower arch is mainly coursed flint with random blocks of rubble Stone. The later (15th century) top stage and pierced balustrade (probably Wyatt 1790) are mainly built with ashlar Ham Hill Stone (16). The cluster columns either side of the porch are Ham Hill Stone.
The lower stage of the Tower belongs to the 14th century. The blind arches either side of the tower were originally designed as the entry points from the North and South Aisles into the Nave aisles. The infill of these and the tower arch is mainly coursed flint with random blocks of rubble Stone. The later (15th century) top stage and pierced balustrade (probably Wyatt 1790) are mainly built with ashlar Ham Hill Stone (16). The cluster columns either side of the porch are Ham Hill Stone.
14. The Tower
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15. The Porch
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16. Tower: top stage
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The South Transept (17) was built up to the level of the lower windows in the 14th century using recycled ashlar Wardour Portland. The upper (15th century) walling is Ham Hill Stone.
Pugin’s ‘Tree of Jesse’ window was inserted into the south wall in 1847. At the corner of the south wall and the east wall is an octagonal turret of Ham Hill Stone on which there is a scratch dial (18). The east wall has an area of flint beneath the window.
Pugin’s ‘Tree of Jesse’ window was inserted into the south wall in 1847. At the corner of the south wall and the east wall is an octagonal turret of Ham Hill Stone on which there is a scratch dial (18). The east wall has an area of flint beneath the window.
17. The South Transept
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18. Scratch dial
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The South Aisle exterior wall (19) consists of 5 bays with a doorway at the eastern end of Wardour Portland. The upper section is roughly patterned whilst the doorway and areas below the window string line are mainly recycled ashlar Wardour Portland.
The North Aisle exterior wall, also of 5 bays, has three doorways of Wardour Portland. In the central section, in addition to the doorway, are the remains of two arches which were part of the now demolished Sacristy (20). The upper walling is patterned and the wall below the window string line roughly patterned with later rubble repairs.
The North Aisle exterior wall, also of 5 bays, has three doorways of Wardour Portland. In the central section, in addition to the doorway, are the remains of two arches which were part of the now demolished Sacristy (20). The upper walling is patterned and the wall below the window string line roughly patterned with later rubble repairs.
19. The south aisle
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20. Part of the north aisle wall
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The East Wall (21)
The lower section consists of five blind arches, the remnants of the Ambulatory. The upper section, like the rest of the church is made up of roughly patterned stone. The flying buttresses are Ham Hill Stone.
The centre three sections are filled in with coursed recycled, ashlar Wardour Portland Stone. There is a carved shield stone embedded in the south section (22).
The right and left sections are the end walls of the aisles and are of a later date. The south section, re-built in the 18th century, is neatly patterned. The 17th century north section consists of random blocks in a variety of stone.
The lower section consists of five blind arches, the remnants of the Ambulatory. The upper section, like the rest of the church is made up of roughly patterned stone. The flying buttresses are Ham Hill Stone.
The centre three sections are filled in with coursed recycled, ashlar Wardour Portland Stone. There is a carved shield stone embedded in the south section (22).
The right and left sections are the end walls of the aisles and are of a later date. The south section, re-built in the 18th century, is neatly patterned. The 17th century north section consists of random blocks in a variety of stone.
21. The east wall
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22. Part of the east wall
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The Interior
The facings of the aisle walls are mainly horizontally patterned except at the east end of the South Aisle where roughly shaped Ham Hill Stone brickettes have been used (23). The vaulting throughout the building is Ham Hill Stone with an infill of chalk brickettes (24).
23. The south-east interior wall
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24. The vaulting in the Crossing
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The Crossing
The main entrance to the church leads directly into the Crossing. The doorway from the porch and the cluster columns supporting the tower are Ham Hill Stone. Most of west wall is coursed knapped flint with a scattering of rubble blocks (25). There is a regular pattern of single blocks of a lighter coloured stone, probably Chalk scaffolding holes (putlog holes) used when the tower was built.
The main entrance to the church leads directly into the Crossing. The doorway from the porch and the cluster columns supporting the tower are Ham Hill Stone. Most of west wall is coursed knapped flint with a scattering of rubble blocks (25). There is a regular pattern of single blocks of a lighter coloured stone, probably Chalk scaffolding holes (putlog holes) used when the tower was built.
25. The west wall of the Crossing
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26. The North Transept interior
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The North Transept interior (26)
Originally, its north wall abutted onto the monks’ dormitory and a covered passageway led to the cloister and other monastic buildings. The Damer family vault lies beneath the transept. There are several notable monuments to be seen.
The font (1860) with two angels (Faith and Victory) in white marble by Danish sculptor Adolphus Jerichau against the west wall of the transept (27).
The impressive table tomb to Caroline Damer (1775) is in white Carrara Marble, quarried in Tuscany (28). The base is Alabaster. The man is her husband Lord Milton (the house builder).
The monument was designed by Robert Adam with effigies by Agostino Carlini, an Italian sculptor and a founder member of the Royal Academy. The black and white marble floor is of the same date (29). The black marble may be Belgian Black. The source of the brecciated marble inset slabs were not identified.
Originally, its north wall abutted onto the monks’ dormitory and a covered passageway led to the cloister and other monastic buildings. The Damer family vault lies beneath the transept. There are several notable monuments to be seen.
The font (1860) with two angels (Faith and Victory) in white marble by Danish sculptor Adolphus Jerichau against the west wall of the transept (27).
The impressive table tomb to Caroline Damer (1775) is in white Carrara Marble, quarried in Tuscany (28). The base is Alabaster. The man is her husband Lord Milton (the house builder).
The monument was designed by Robert Adam with effigies by Agostino Carlini, an Italian sculptor and a founder member of the Royal Academy. The black and white marble floor is of the same date (29). The black marble may be Belgian Black. The source of the brecciated marble inset slabs were not identified.
27. The font
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28. Caroline Damer tomb
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29. The marble floor
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On the north wall is a slate monument of Henry Dawson Damer, 1841, with arms (30).
The memorial to Caroline, Countess of Portarlington is situated on the east wall. It is Wardour Portland (31). The inscription panel is whitewashed.
The memorial to Caroline, Countess of Portarlington is situated on the east wall. It is Wardour Portland (31). The inscription panel is whitewashed.
30. The Henry Damer memorial
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31. Memorial to Countess of Portarlington
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The South Transept (32)
The catwalk and parapets to the west facing upper windows were added in 1500 and are Ham Hill Stone (33). There is mason’s mark (34) on the west wall. At ground level, in the south east corner, are the remains of Abbott Middleton’s 15th century chantry and associated piscina in Ham Hill Stone (35). Memorial tablets to members of the Hambro and Marsh families are embedded in the lower part of the south wall below the Jesse window.
The catwalk and parapets to the west facing upper windows were added in 1500 and are Ham Hill Stone (33). There is mason’s mark (34) on the west wall. At ground level, in the south east corner, are the remains of Abbott Middleton’s 15th century chantry and associated piscina in Ham Hill Stone (35). Memorial tablets to members of the Hambro and Marsh families are embedded in the lower part of the south wall below the Jesse window.
32. The South Transept interior
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33. The catwalk in the South Transept
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34. The Mason's mark
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There is also a floor slab to Angus Hambro and his wife Vanda which is in Purbeck Grub with inset slabs of Purbeck Marble (36a, 36b). A variety of other slabs and fragments of masonry are exhibited in this area, some of Saxon and Norman design (37).
35. Abbott Middleton's Chantry
36b. Loupe of Purbeck grub
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36a. Angus Hambro's grave slab
37. An example of masonry
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The Presbytery
The Choir and North and South aisles are accessed through three arched doorways in the east walls of the Crossing and transepts. The organ is now situated above the central doorway. The wall below is constructed of re-used Wardour Portland Stone. The central passageway from the Crossing to the centre aisle is ashlar Wardour Portland with 14th century arcading in the passageway and Purbeck Marble colonettes (38) at each end. The inner walls and arches between the aisles and the Presbytery are of recycled ashlar Wardour Portland. |
38. The inner doorway with Purbeck Marble colonettes
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The Choir area
Balustrades of six arches in Wardour Portland Stone with Purbeck Marble colonettes were built each side of the choir stalls in the 19th century (39). They separate the choir from the north and south aisles. The stone used was freshly quarried and is more typical of Wardour Portland. On the south side, embedded in the wall is a 14th century tombstone fragment in Purbeck Marble with an unreadable incised inscription (40). It is mentioned in guides but its significance is not explained.
Balustrades of six arches in Wardour Portland Stone with Purbeck Marble colonettes were built each side of the choir stalls in the 19th century (39). They separate the choir from the north and south aisles. The stone used was freshly quarried and is more typical of Wardour Portland. On the south side, embedded in the wall is a 14th century tombstone fragment in Purbeck Marble with an unreadable incised inscription (40). It is mentioned in guides but its significance is not explained.
39. One of the Choir balustrades
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40. Tombstone fragment
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The High Altar area (41a)
The reredos was installed in 1492. The lower part is in Ham Hill Stone which has remnants of paintwork (41b). The upper section is made up of 26 niches, now all empty, but each would have held an effigy of a saint. It was badly damaged, either at the Dissolution or during the Commonwealth period, and was restored, in plaster, by James Wyatt in 1789.
The reredos was installed in 1492. The lower part is in Ham Hill Stone which has remnants of paintwork (41b). The upper section is made up of 26 niches, now all empty, but each would have held an effigy of a saint. It was badly damaged, either at the Dissolution or during the Commonwealth period, and was restored, in plaster, by James Wyatt in 1789.
41a.The High Altar area
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41b. Remnants of paint on the reredos
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Set in the floor below the Victorian tiled steps is the grave slab of Walter de Sydeling, the abbot at the time of the fire (42a, (42b). The brass inlay is missing.
42a Grave slab of Walter de Sydling
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42b.Detail of the slab
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The grey Stone is Purbeck Marble and the red stone is a sandstone from an unknown source (42c).
In an archway to the north side of the altar is of Baron Hambro’s tomb designed by Sir Gilbert Scott (43). The effigy is marble; the plinth is alabaster.
In an archway to the north side of the altar is of Baron Hambro’s tomb designed by Sir Gilbert Scott (43). The effigy is marble; the plinth is alabaster.
42c Loupe of the sandstone
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43. Baron Hambro's tomb
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In the south archway are three sedilia and a piscina in Ham Hill Stone (44).
The North Aisle (45) has four 18th century grave slabs of Purbeck Marble embedded in the floor which were unearthed from an old Middleton graveyard.
The North Aisle (45) has four 18th century grave slabs of Purbeck Marble embedded in the floor which were unearthed from an old Middleton graveyard.
44. The sedilia and piscina
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45. The North Aisle from the east
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At the east end is the ornate marble tomb of to Mary Luttrell, nee Tregonwell, who died of smallpox in 1704 (46). Alongside is the tomb of Sir John Tregonwell who bought the Abbey in 1540 (47). The tomb is completely made of Purbeck Marble with brass insets.
46. Mary Tregonwell tomb
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47. John Tregonwell tomb
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The South Aisle (48)
There are six more Purbeck Marble grave slabs embedded in the floor. At the east end is a marble altar designed by James Wyatt (49). The bust above is of St James de Compostela. The stone could not be identified. High on the inner wall of the aisle is Abbott William Middleton’s rebus dated 1514 which appears to be of painted plaster (50).
There are six more Purbeck Marble grave slabs embedded in the floor. At the east end is a marble altar designed by James Wyatt (49). The bust above is of St James de Compostela. The stone could not be identified. High on the inner wall of the aisle is Abbott William Middleton’s rebus dated 1514 which appears to be of painted plaster (50).
48. The South Aisle from the west
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49.The marble altar
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50. The rebus
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References
An archaeological survey was carried out by Oakford Archaeology in 2016 (https://.www.oakfordarchaeology.org.uk) which revealed traces of the lost chapels at the east end and confirmed that the building of the nave was never started.
An archaeological survey was carried out by Oakford Archaeology in 2016 (https://.www.oakfordarchaeology.org.uk) which revealed traces of the lost chapels at the east end and confirmed that the building of the nave was never started.
- A more detailed account of the history and architecture may be seen at:https://www.britishhistory.ac.uk>rchme>dorset>vol3>pp182-20
- Miller A. (1999), The Monasteries of Dorset, Albermarle Books, pp 125- 15
- The Royal Commission on Historic Monuments undertook an excavation at Milton Abbey Church to clarify the plan of the earlier churches (Gee E.H., (1955, 1956, 1957), Excavations at Milton Abbey. They also undertook a survey of the earthworks of the old town (RCHME 1970)
- Traskey, J.P. (1978), Milton Abbey – A Dorset Monastery in the Middle Ages, Compton Press, ISBN900193735
