Start

You are now, to start your tour, at Station 1, at the West end of the nave - the main body of the building. The diagram below shows you the principal areas of the church and an indication as to when the various parts were built.

You will see that the nave and the chancel (beyond the Norman arch), are almost the same length - this is a key feature of this, a cruciform or "cross-shaped", church, and is a sure sign of its antiquity.

At this station, you have behind you the West doors. Start to walk up the nave, from West to East. As you do so, note the two churchwardens' staves in the back pews with their motifs referring to St. Lawrence - the gridiron and the flames - relating to his martyrdom. Look up to see the clerestory windows and over the south arch, the triforium . Nowpause at the first set of steps for the next station.

Station 2 - Chancel Step

Look up to see and admire the great West arch of the crossing, with its massive piers built to carry the immense weight of the tower. Note the wealth of Norman carved masonry, probably cut in about 1150. It is a useful exercise to study the different "orders" or patterns of the carving. The zig-zag decoration is very distinctly Norman.

In mediaeval times, the nave was an area in which the village inhabitants met, using it in some ways as a community hall and local court for settling differences. The church services and the liturgy were conducted in the Chancel and from the Sanctuary behind a Rood Screen, surmounted by a decorated Rood Loft. This was situated within the tower, and upon it was set a 'Payre of organnes"

Through the Rood Screen, the general congregation would only just have glimpsed the priest at the High Altar, below the East window, though they would have been able to hear the chanting and all would have been in Latin. In the mediaeval church the congregation came forward to receive the Sacrament only at Easter.

At the Reformation, the Rood Screen was removed, to reveal the view of the High Altar and the East window, thus making the sacramental area of the church more accessible to the people. This has since gone even further, now that we have an Altar under the tower. Some fragments of the old Rood Screen remain in the new vestry and, particularly, as beams supporting floors in the tower.

With the liturgy spoken in Latin, very few, if any, of the congregation would have understood what was being said. The Reformation brought in English as the language of the Church, with, in addition, the English language Bible, and, of course, the Prayer Book completed in 1662, both written in the language of the people.

In 1980, the church introduced a new prayer book, the Alternative Service Book, to stand alongside the Book of Common Prayer and bring the liturgy into 20th Century English.

You will now appreciate how the services have been moved closer to the people the altar and the choir are nearer the nave and there is a modern prayer book. All this has occurred in the last 25 years. In the year 2000 Common Worship was introduced, a revision of the Alternate Service Book which includes parts of The Book of Common Prayer, keeping the best of the old and yet reflecting the changes in thinking over the last few decades.

The concept of marrying old and new reminds us that, at the first step into the crossing, we see the wear of many feet over the centuries. This is where those being married kneel for a blessing at the ceremony, before going forward to the right, to sign the registers.

If you look to the right and at the base of the pier, just on the corner, by the Vicar's stall, you will see the "dragon carving", executed by some nameless Norman craftsman, as are all the carvings you will see if you lift your eyes. This symbol has been incorporated in the new Bishop's chair; not to imply that the Bishop is a "dragon", but rather to lend emphasis to the continuity from the past, through the present, to the future.

Look to the left and above the pulpit you will see the blocked-up upper half of a Saxon-Norman doorway. This is set in the original outer wall of the nave.

The angled lines of the 13th century roof can be seen above your head.

Move a few paces to Station 3

You are now in the oldest part of the church.

Look at the carving on the top of the three quarter collonettes, the flat trail capitals and the string courses, which run around the walls, both inside and out - unique to this church.

On the left is the 17th century wall painting and, adjacent, 2 bell ropes -one to the Angelus. Remember that until Henry VIll's dispute with the Pope, this was a Roman Catholic church and the Angelus bell was rung thrice daily as a call to prayer, Now it is rung to call people to the Communion service on Thursday mornings. Move now to the side of the new Altar.

Station 4 - Tower and Organ

You are fully under the tower, supported by the Norman piers and the rounded arches. Within the piers lie the remains of the original Saxon church. Compare these rounded arches with the pointed ones of the next architectural period . How did the builders handle these great blocks of local sandstone masonry? There were no "JCB's" in those days and all labour was by hand, or with the help of oxen and, perhaps, horses.

The construction of Norman arches is what is known as "rubble laid", with ashlar, or shaped masonry, as face stone work.

While under the tower, take a look at the organ. It more or less fills the North transept. In relation to the rest of the building, it is a relative "youngster", a mere 120 years old!. There are about 1450 pipes in it, the longest 5 meters, and the shortest only a few centimeters! When a Russian recitalist was here recently, after the recital, he bowed to the organ as well as the audience!

Station 5 - Chancel

Move up the chancel now. On the way, admire the chairs  especially the new, large chair, made by the local craftsman, Edward Scott, to replace one that was stolen. Note the carving on the chair, which refers to stonework in the church, unique to this building.

As you pass into the chancel, remember that this was the area in mediaeval times which was open only to the four prebends who lived in a small dwelling to the south.

All the stone in the church came from local quarries. Look for the mediaeval stained glass in the tracery of the windows.

The chancel has been lengthened several times and you will see this more clearly when you turn into the Lady Chapel. The "straight lines" show where extended masonry has been built on.

Station 6 - High Altar

Move up now to the High Altar area. Note the shepherd's crook against the left wall - a symbol of Christ, the Good Shepherd. Note the little 14th century priest's door and the Easter sepulchre niche in the wall adjacent.

While here, look more closely at the "five light" East window with its flowing tracery. The stained glass dates from 1921, and was specially fitted into the old stonework, of 14th century origin. The new section of window was to commemorate the Queen's Silver Jubilee in 1977.

Note the plaque on the wall, commemorating the men from the Parish, killed in the First World War. Many local names are still to be found in the village.

Beneath the floor are tombs and vaults where, in olden times, the wealthy were buried. Gnosall church, however, being a Minster church, had few gentry associated with it, which is why so few ornate tombs are to be found here.

Now turn right to Station 7 - The Lady Chapel

This is the Lady Chapel, which was probably firstly a chantry chapel, built in the 13th century and extended and remodelled in the late 15th or early 16th century. It has a very different "feel" to it, compared with the rest of the building - less "monastic" and more Victorian: "High Church", perhaps.

Note the little aumbry or wall cupboard to the left of the Altar, where the Sacrament is kept and the wooden reredos above the Altar.

On the right of the Altar is the piscina, once used by the Officiating priest, to wash his hands, the Chalice and other

Communion vessels. Note the inscribed lead slabs on the left,  BROWN at the base of the piers. These were from the roof of the North transept, above PLUMBER where the organ stands. They were found during repairs and commemorate earlier 1765 work on the roofing.

On the South wall of the Lady Chapel is the Second World War Memorial plaque. Note that there are fewer names of those killed than on the First World War Memorial.

To the left of the Lady Chapel Altar is a stone slab. This is part of a mediaeval coffin lid ' This would have been a costly item. On it, sheep shears are depicted and a cross. The shears are a reference to the source of wealth of the departed. There is another such coffin lid, set upright, in the churchyard, near the North transept. The effigy against the south wall is early 1400's, very interesting though quite badly damaged probably in Cromwellian times. It represents either Sir William Banestre or Sir John Knightly(see notes on page 12). The child was added in the late 14th or early 1 5th Century but we have no details as to who he or she was. Note the oddments of mediaeval stained glass in the window above.

When the Lady Chapel was extended eastwards and brought into the body of the chancel, the Prebends were given a new lodging to the south, a small "house". You can still see the blocked-in aperture to this building in the South transept - probably a door cut through in the 14th century.

Later in the 16th century, a "mansion house of four little chambers" was erected to the South. While in the Lady Chapel, note the signs of the old roof and ceiling above the arch, as well as the many "straight edges" in the masonry.

Note the wheeled bier. Now, move to the next Station.

Station 8 - South Trancept

This is the South Transept. There is a door to the churchyard on your left. The door itself dates from Tudor times. In the corner is the door which leads to the tower staircase, which you will use if you visit the ringing chamber, clock room, belfry and tower roof. There is an intra-mural passage or internal gallery with very fine Norman apertures which look down on the South transept. In the passage or "mini triforium, there is a Holy Water stoup for the use of the priest who kept watch over the pilgrims who came to venerate saintly relics displayed on special occasions. We would like to think that these might once have included some relics of St. Chad himself. When not on display, these relies were stored in a strong room above the transept, you may be able to discern holes in the South tower face above your heads, where the floor joists of the strong room may well have been slotted. This safe area was approached via the tower.

In the South transept by the door there is an ancient oak chest, known by some as the "Great Coffer" which probably dates from the 13th century. Because of the money slot in the lid it may have been used as a poor box under the Act of Henry VIll. Others think it was used in olden times to store records and vestments or as the Churchwarden's chest.

When the aisles were added to the nave in the 13th century the South transept was made accessible to the nave aisle, the pointed arch was put in place, below the intramural passage. In doing this, three of the four Norman "sedilia", or prebends' seats, were removed, the fourth now houses the tapers with which the candies are lit.

Look for the carving of the capitals of the remaining columns and the "snake" motif, of Scandinavian influence possibly, above your head, on the left inside corner.

Station 9 - North Aisle

Now, via the arch, leave the South transept and cross to the North aisle, past the older font, the pulpit, installed in 1894 by Bridgmans of Lichfield, and the brass eagle lectern: you will arrive at the rear of the organ. Beyond is the little "Chantry Chapel', the Chapel of St. Catherine, once, before the addition of our new vestry, a very cramped and cold vestry.

As you walk to the rear of the church, note the slope of the nave wall. This is quite safe, as these old buildings were constructed so that they could move slightly over the years. Nevertheless a constant watch is kept, through the 5-yearly, or Quinquennial Inspection which is undertaken by the Church's Consulting Architect.

Now turn to the right and enter the foyer of our brand new vestry or "chapter house."

Station 10 - New Vestry

The new vestry is the current generation's contribution to the fabric of St. Lawrence Church, and was dedicated in July 1994 by The Right Reverend Michael Scott-Joynt, then Bishop of Stafford, now Bishop of Winchester. The vestry was designed by Messrs. Horsley, Huber and Associates, Architects, of Stafford and the building work was undertaken by Messrs. Harvey Jones. The Architect, lan Henderson DipArch RIBA, won a 1997 Civic Trust award for the design.

In the vestry, look at the old sundial plate; this used to be on top of the pillar in the churchyard, outside the South porch. It was installed there in 1720, so that the church clock could be corrected. It was removed from the deteriorating effects of the weather in 1996. As far as is known, it is of unique design.

Also see the relic of the original Rood Screen - the grapes carved motif on the wall and the St. Lawrence finial in the apex of the roof - a recent addition.

On the way out to the South door and the outside, the Baptistry to your right, by the engraved window depicting St. Lawrence, the Patron Saint of this church, standing on the gridiron on which (according to tradition) he was martyred in the 5th century. This window was engraved by a Stafford artist. To the right of the South door is the Incumbents' list dating from 1086, to our present Vicar. On the left of the South door, is a holy water stoup, where those entering might wash their hands, as a devotional act.

The outside of the church and its grave yard have some interesting features. The yew trees are impressive, though not old enough to have furnished wood for mediaeval bowmen. One can see where they practised their skills, as the "arrow whets" for sharpening the arrow points are many and specially common on the outer face of the South transept wall.

Adjacent, on the buttress to the East, is a very weathered "scratch dial" -a simple sundial originally, whereby the clerics in ancient times could tell - the time and thereby space their services at correct intervals.

Now look at the tower, with its frieze of cusped saltire crosses and its eight pinnacles. Can you see the inscribed chalice in the stonework on the south side? it's quite difficult to detect, about 3 metres down from the castellated parapet and just to the left of the belfry window. There are also some well-preserved gargoyles.

A clock was installed in the tower in the late 17th century. The sundial pillar in the churchyard dates from 1720 and was rebuilt in 1910,

The grave stones are all rather sunken. This is due to the accretion of the soil as a result of the action of earthworms, the accumulation of vegetation and the interment of many thousands of bodies over the last 1200 years or more.

The Prebends' "little mansion" was across Sellman Street, in front of the Victorian vicarage, now a private house called "Parkside". The present vicarage is just round the corner, in Glebe Lane. The house of the one time curate is now "St. Lawrence Cottage", at the junction of Sellman Street and Glebe Lane.

Foot note

The church is now a centre of worship for both Anglican (C of E) and Roman Catholic communities and we also welcome the local Methodist community from time to time for ecumenical worship.

We hope that you have enjoyed your visit and that this guide has been of help to you. The structure and history of this very fine building demonstrate the changes which have taken place in the way the Christian faith has been observed and displayed over the centuries.

The church is not just a building; it is also a community of "living stones" today's Christians.