The steeple of St. Wulfram's church first caught my eye, as it must many people's, at about 105 miles per hour, the speed at which non-stop express trains hammer through the Lincolnshire town of Grantham, shooting out onto the high embankment across the town, leaning into the curve — and there, soaring above the chimneys and rooftops flashing jaggedly by in the foreground, there is Wulfram's tower, with the same serenity with which it has weathered the seven centuries of its age; and the spirit soars with it. The vision hangs and swivels, lingering for perhaps fifteen seconds, and is gone, and the train is pressing on towards Lincolnshire's borders and London, or Yorkshire, or Scotland.
There are those who call the East Coast Main Line dull and boring, mainly because, south of County Durham at least, it runs relatively straightforwardly through England's flatter counties. But there are more than mountains to be seen from the window of a train. For this line, as much as any other, I am sure, is proof of
the poetry conjured up by that conspiracy if churches and railways. Four medieval cathedrals — Durham, York, Peterborough and Lincoln — can be spotted to varying degrees at various points along its length, and plenty of other fine churches greet the eye as well, from the fifteenth-century spire of
St. Mary Magdalene at Newark-on-Trent to
Doncaster Minster's Victorian Gothic, or handsome
St. Peter's at Offord D'Arcy. But of all these, save perhaps only Durham, the sight of St. Wulfram's at Grantham is surely the most thrilling. Here the line speed (105mph beats ninety at Durham!), the eye-level view from the embankment, the church's proximity to the railway, and, above all, the sheer beauty of the steeple, all conspire to lend those few seconds of the journey a meaningful, harmonious, unforgettable form, that of a theatrical scene, revolving like a snow-globe. In other words, they turn Grantham into a poem.
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| St. Wulfram's spire from a passing London train, 6th June 2017 |
Other travellers have noticed this before me. For the writer Peter Hitchens, who 'normally make[s] a point' of looking out of the window whenever he comes this way, this is
'one of the loveliest steeples in all England'. And, according to
the BBC programme Songs of Praise, which came to Grantham in 1980, 'a certain Fr. Stanton' would apparently stand up in the middle of the compartment to raise his hat in honour of the spire and its builders, and request his fellow passengers to do the same. For myself, I resolved one day to visit Grantham properly, and to savour the poem more slowly, more closely, and from within.
That resolution was to be fulfilled one brisk autumn day in 2018. The train had pelted headlong from London, so it was barely mid-morning when my sister and I alighted half-way up England, under shredded bands of cloud scudding intermittently across the face of a kindly sun. Off we set, through a pleasing warren of terraced houses immediately east of the station, down to where the Great North Road swoops in. Even now it is not difficult to imagine the stage-coach days, with the inswooping mail trailing its column of dust, all wheels and thumping hooves and harnesses ajangle. Not far along the road we found the majestic Victorian Guildhall, a building worthy of a major town on the Great North Road, with a statue of Isaac Newton outside, and a bustling local writers' fair inside. I was warming to Grantham already, sensing a certain self-respect that did not need to give itself airs (or maybe a down-to-earth-ness, appropriately enough for Newton's home patch). But there was no time to linger, for there was business to attend to. Our plan was not to head straight for the church, but to hare up Hall's Hill, the rise bounding the town to the east, in order to admire the great steeple from afar. Hindered only by a bush full of angry wasps, which we doubled back to avoid, we climbed up high enough to be able to look back down on the town, and watch the sunlight and shadow cascading over it, and the fast trains hurtling through in the middle distance.
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The view westwards from Hall's Hill, 3rd November, 2018.
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There in the autumn noon stood the tower that has been the glory of this broad, shallow valley of the young Witham since about the year 1320. We were looking at a sight instantly recognisable, by this one essential feature, to twenty generations before us. Briefly this was England's highest steeple, until Salisbury Cathedral's spire overtook it within ten years. The two projects were not in fact unconnected, as Julian Flannery explains in his peerless Fifty English Steeples (Thames & Hudson, 2016), because Grantham actually belonged to Salisbury diocese: clearly one spire was not enough! In any case, according to Flannery's comprehensive theodolite surveys, St. Wulfram's remains England's fifth highest surviving medieval steeple after Salisbury and Norwich Cathedrals, the fellow Lincolnshire steeple of St. James' in Louth, and St. Michael's in Coventry (that is, the 'old' Coventry Cathedral). It is worth mentioning in passing that three of the four highest medieval steeples of English parish churches are to be found in Lincolnshire: Louth amid the dreaming Wolds (287 feet), Grantham in south-western Kesteven (274 feet), and fen-defying Boston (266 feet). This is to say nothing of Lincoln cathedral, once the tallest building in the world by virtue of its 520-foot central spire. (Even after this spire collapsed in 1549, and the two others at the west end were taken down in the eighteenth century, Flannery believes that what remains of the central tower 'may just exceed' St. Botolph's at Boston.)
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| The spire seen from Park Road. |
But I am day-dreaming. St. Wulfram can be put off no longer; it is time to go down the hill, threading through the suburban houses and the park — all almost conspicuously unpretentious, as if the town thinks the tower is showing off enough! — to see the great church at closer quarters.
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| The west front. |
So this is the steeple before which Ruskin swooned. Here, as well as anywhere, it is possible to see the glory of the Gothic: the sheer verticality of everything, every little detail doing its bit to add to the upthrust of the whole. The whole structure is straining towards Heaven, and the wide traceried windows let in Heaven's light. Flannery pointed out the one major mistake made by the builders in the staircase at the south-west corner, which was built too far out at the bottom, and which unfortunately, by becoming more pronounced as the tower tapers with height, throws the whole slightly off its symmetry. Yet this lesson was learned here once and for all; the error was not repeated in any of the later great English towers.
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Looking west from the chancel. The tower stands right over the west door.
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Considering the steeple's emphasis on verticality, there is an interesting contrast waiting inside the church: the enormous and spacious width of its interior. The two side-aisles are each almost as broad as the nave: John Betjeman even declares that the 'power of the grand interior is horizontal rather than vertical' (Best British Churches, Collins, 2011 edition, p.400). The church impresses us first by its height, then by its breadth. In the north wall an alcove is visible where St. Wulfram's relics are likely to have been displayed. I wonder what grand processions there have been through this church over the years. One spectacle that has been recorded for posterity is the visit of the BBC programme 'Songs of Praise in 1980, which, for all sorts of reasons, in texture, language and content, seems caught at a curious, fascinating position, between the old Britain and the new.
We were, I think, about the only visitors at that point on the Saturday afternoon, but there were quite a few townsfolk pottering around. Chairs and parts of a dismantled stage were being cleared away and loaded into a van after a secular awards ceremony the previous night, and a youngster no more than ten years old was being given a lesson on the mightly organ. (I hope he will one day support a mighty surge of singing, as in
Songs of Praise above!) I bought a tea-towel showing the great spire (it has to be a particularly large tea-towel to fit the tower in) and we took our leave.
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| From the south-west. |
This being a non-party-political blog, no party-political allegiance should be read into the detour we then made to see the building where, on October 13, 1925, Margaret Thatcher, Prime Minister from 1979 to 1990, was born. This red-brick corner shop is, I think,
revealing about her character, even though it is no longer Roberts the greengrocer but a chiropractic clinic. This must have been, as has often been pointed out, and which seems in common with Grantham in general, an unpretentious but decent place to grow up; plain and unvarnished but dignified and unbowed (and is even raised slightly above the level of the road). The Methodist church where the Roberts family worshipped is only a few doors down.
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| Margaret Thatcher's birthplace, North Parade, Grantham. |
It seems arguable that this building goes some way to explain both Margaret Thatcher's sympathy as a politician for those who worked hard to earn their living, which aided her electoral success, and her apparent lack of sympathy with those who were not capable of doing so, which is generally acknowledged to have precipitated the end of her premiership. I was also struck by the shop's position actually right on the old Great North Road, and not far at all from the railway either; she must, as she was growing up, have felt London and the wide world beckoning to her the moment she stepped outside the front door.
Almost directly opposite Margaret Thatcher's birthplace is one of the most curious Catholic churches I have ever seen. From outside,
St. Mary the Immaculate is a solemn, sober early nineteenth-century neo-classical edifice. Inside, however, it is completely different: the church seems to have been altogethert transformed in the 1960s, so that the altar now faces north, not east, along what must once have been the length of the church, rather than its breadth. I don't think I have ever seen a church with an interior differing so dramatically from the exterior. This surprise certainly competes with the contrast between horizontal and vertical in St. Wulfram's!
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| Inside the church of St. Mary the Immaculate, looking north |
Daylight began to fade as we drank hot chocolate in Cafe Leo along Westgate, and so the time came to take our leave of this reserved, unshowy town with its ardent steeple, and of the unsung, wide-skied county in which it is set. But not for long, for another tower further east, that of St. Botolph in Boston, was soon to beckon me back to Lincolnshire.
Postscript: Writing this at Whitsuntide, I am reminded of Philip Larkin's famous poem 'The Whitsun Weddings'. Po
etically at least, this week is the sixty-fifth anniversary of the journey it records. It was down this line that Larkin's train came that 'sunlit Saturday'. He would have passed through Grantham, and one of those weddings may well have been solemnised in St. Wulfram's church. Truly England is a poem.
