All Saints Church Guide

The West Tower is the oldest part of the church still standing (1510). It was built in three stages in red brick, with blue headers being used for a diapering effect on the sides. There are panels either side of the door, including a lion, an anchor (insignia of Sir William Capel) and quatrefoils. 

Above the arched window is an ancient wooden dial (date unknown) behind the metal clock dial. The single handed clock has four divisions between the hours to denote quarters and halves. It was electrified in 1956.

The church pew is one of a set of twenty which were installed in the church in 1886. They are made of pitched pine from North America. Historical illustrations show that that the pre-Victorian church had box pews which were of a different design to this one. Number 20. on this tour shows how some of the wood from the pews has been reimagined for today.

Son of Sir William Capel, Sir Giles fought for Henry VIII at the sieges of Terrouenne and Tournay and at the “Battle of Spurs” (a famous defeat of the French Cavalry) in 1513. He lived in Rayne Hall until his death in 1556. His will requested that his “beste helmet” and sword be hung above his tomb in the church, alongside a candelabra. The helmet is one of the finest surviving examples of a “great bascinet” and possibly worn by Sir Giles at Henry VIII's “Field of Cloth of Gold” tournament held in June 1520.

After being removed from the church, the Capel Helmet was acquired by Miss Courtauld, who gave it to Baron do Cosson (an expert on the history of arms and armour). It was exhibited in London and later acquired by the Metropolitan Museum of New York in 1907, who sent a copy back to England. Unfortunately stolen in March 2005, the copy was generously replaced by Mr Graham Capel.

The West Tower's internal dimensions are 11 ft by 10 ft. The door to the right provides access to the bells. Originally provided with four bells, these were increased to five, with each inscribed "Thomas Mears Founder London 1841." Finally, a sixth bell was added, cast by Bowell in 1913 and dedicated to the Rev. W. Capel, Rector (1805). All the bells were refurbished and rehung by Eayre & Smith in 1991.

The font may date from the 14th century but has been heavily restored. Depicted on it are the four symbols of baptism: the Cross, the Hand of God, the Dove and IHS, the monogram of Jesus. Also depicted are the Lion, Man, Eagle and Ox from the Book of Revelation - symbols of the four Gospel writers.

Plinth inscription: "D O M (God the greatest and best) to Clement and Maria their loving daughter Anna Maria All Saints Day 1884."  The font is amongst the most important features in our church: when filled with water it symbolises God's creative power and the entrance of life into the Christian family of faith.

Dated 1886 and formerly part of the East window, these panels were moved to their current position in 1914. The scenes depict: the Women at the Tomb of Jesus; the Presentation in the Temple; the Ascension of Christ; and the Baptism of Jesus. The depiction of Jesus' face is damaged and received a basic repair in 2021.

The canvas of the Arms of the Earls of Essex was purchased by Rev Powell for £5 and 5 shillings in 1756. It was originally located above the West Door. Motto: "Fide et Fortitudine" = “with fidelity and fortitude”.

The Earls of Essex, including the Capel family, were Patrons of the Church for some 450 years.

The brass memorial plaque records that Elizabeth was aged 90 when she died on 26th February 1843. It also states she was a descendent of William Barbour, who apparently escaped being burnt at the stake due to the news of the death of Queen Mary arriving at the last moment. Research has shown that to celebrate his salvation, he commissioned the Barbor Jewel - a pendant with a cameo of Elizabeth 1. This was inherited by Elizabeth and subsequently donated to the V&A Museum by her daughter Margaret. She died 24th December 1865 and is commemorated on the marble plaque near her mother's.

Photograph of Barbor Jewel ©Victoria and Albert Museum, London.

Memorial to John Trepsack, who was Rector for 38 years and died on 20th August 1741. Also, his wife Anne, who died 17 April 1724 and their son John Gratian who died 20 April 1719, aged only ten months. 

The stone tablet made by Laurent Delvaux (1696-1778), a Flemish sculptor who set up a workshop for funerary monuments in Millbank, Westminster in 1723. 

The brass memorial plaque remembers William Spence Hemming (1826-1897), who was Curate and Rector for 48 years. He played three cricket matches for Cambridge University in May 1848, taking 21 wickets overall (including two returns of six wickets). His contribution to All Saints was pivotal in getting the old church rebuilt, along with raising the funds from the laity for the additional features provided in the new building from 1840. These included: new bells in 1841; slating the nave roof in 1858; the oak pulpit in 1867; the brass lectern in 1868; new bell ropes in 1875 (presented by the ladies of the parish); new pews in 1886 (at a cost of £558), and even the stained-glass windows in the same year.

White stone memorial to Charles Hutchinson, Rector of Rayne 1899-1938, and other family members. During his incumbency, Hutchinson oversaw the extension of the chancel by 9 feet to make a new sanctuary. He was known for his generosity, both for embellishing the church and entertaining the parishioners. He started the Parish Magazine in 1903 and established a Lending Library in the Old School Room. 

A Sacring Bell is a small bell rung at the elevation of the Host and chalice during Mass (usually Roman Catholic). This example was brought back from Flanders by Sir Giles Capel and given as a gift to church. It bears a Flemish inscription: "I am cast in the year of our Lord 1528." It disappeared during the reconstruction work in 1840 but was found and rededicated in 1936. It is notable for being the only foreign bell in Essex and the second oldest of all dated bells in the country.

Originally an oak settle, this is now used as a sedilia (seat) for use by the vicar and assistants during communion. Its inscription reads: "This XV Century sedilia given to the Church of Rayne in pious memory of William / Hutchinson B D (1799. 1876) and Ann Lancaster / (1820. 1895) his wife by their son / Charles Hutchinson M A 1913." Note the splendid carved animals at each side.

The Reredos itself is relatively modern (1914) but displays fifteen Flemish carved oak panels dating to about 1640. It commemorates William McGrath Compton (1852-1907), and was erected by his widow, Catherine Mary Ann Compton, and his daughter, Renie McGrath Hutchinson. Another Flemish panel, depicting Mary, can be seen above the Vestry door, set in an architectural feature called a Tympanum. 

They tell the story of the life of Christ, his death and his Resurrection and they attest to the faith of those who worship in this church. 

The East window and windows on north and south contain stained glass installed in 1914 by the Norwich Glass Company. The figures of the four Gospel Saints are depicted (Matthew, Mark, Luke, and John). Higher up there are smaller panels of eight other saints: (on left) St Etheldreda, St Ethelburga; (in centre) St Edmund, King Edward, St Alban, King Charles 1; (on right) St Frideswade, St Winifred. Etheldreda (c. 636 - 679) was an East Anglian princess, a Fenland and Northumbrian queen and Abbess of Ely. She was also known as Audrey. The nearby parish church of White Notley is dedicated to her.

This is the holiest part of the church (the Sanctuary) and it contains the High Altar where the congregation still come to receive Communion.

Charles 1 (1600 -1649) believed in the divine right of kings and was determined to govern according to his own conscience. His conflicts with Puritans and Parliament led to the English Civil War, concluding with his execution at the Banqueting House, Whitehall on 30 Jan. 1649. This portrait shows Charles as a Christian Martyr, blessed by God. 

Whilst the Rector Edward Symonds would be delighted to see this window in his church, many puritan Christian people in this part of Essex approved of his execution and would have regarded him as a tyrant. 

Re-sited to the North wall of the Sanctuary is a 16th century ledger stone to Lady Katherine Capel d. 1572, wife of Sir Henry Capel d. 1588. They had six sons and four daughters. Other members commemorated include: Katherine’s father, Sir Thomas Manners (Earl of Rutland) along with Sir Edward Capel and his wife, Anne.

A stone floor slab with indents of former brass figures - a knight in armour with a sword and a woman in a butterfly head-dress. Dates to around 1480. 

Once common, only few thousand brasses still survive due to changing beliefs and metal recycling. Most comparable example is from Hinton St George, Somerset.

The organ was made by either Bevington of London or possibly Forster & Andrews, as the initials "FA" are found on the bellows weight. It was purchased in 1867, possibly from a church in Great Dunmow. Originally a barrel organ, the action is Mechanical to the keyboard and Pneumatic to the pedalboard.

There are two inscriptions: "To the Glory of God / This Organ / Was restored and improved in 1950 / By the generosity of the late / Miss Sophia Hawkes / Organist of this church for Fifty years."  and "David Lancaster / Organist at this church / from 1948-2016 / Make a joyful noise unto the Lord."

The Pulpit is made of carved oak and dates to 1867. It is still in occasional use for giving sermons and for preaching the Word of God. In the days when the pews came very close to the front of the nave, the height of the pulpit made it possible for the preacher to be seen and heard. The pulpit rail was made by local wood carver J. L. W. Rudken in 1910 as a memorial to King Edward VII. He also carved the oak Choir screen in 1901 as a memorial to Queen Victoria.

Records show that Lady Dorothie Capel donated a new communion table in 1620, but this table was made in 2020-21 by Mr Peter Nicholls, using wood recycled from pews at the front of the church.

Close inspection reveals all the hallmarks of previous construction: the screw-holes visible underneath; the cuts of the Victorian sawmill; and the chalk used by the original carpenters and wood merchants.

Dated 1886 and formerly part of the East window, these panels were moved to their current position in 1914. During the refurbishment of the church in 2020 we discovered the geometric leaded glass which had previously been in this window and the one opposite.  

The scenes depict: The Last Supper; The Annunciation; the Crucifixion of Christ; and the Adoration of the Shepherds.  These are some of the key stories of our Christian faith and form the basis of our festivals and holy days.  

Dated late 17th / early 18th century, the provenance of these wooden angels is unknown. They may have hung in the earlier church (pre-1840) but unfortunately this remains unproven.  

One expert opinion is that they originally came from a very ornate and grand church organ but it is hard to be sure.  They are not quite in keeping with this building but we like their very expressive gestures of holy devotion.

There are 794 memorial inscriptions within both the churchyard and the church, with 72 having multiple entries e.g. Rayne Rectors. They offer a rich source for genealogy and historical research. The oldest recorded resident of the churchyard is Rebecca Fairs, who was buried in All Saints on 19th January 1793 at the age of 102. This meant that her life spanned five reigns: William and Mary, Anne, and Georges I, II and III.

The All Saints Church Heritage Committee hope that you have found this guide informative and that you will also have time to walk the associated Rayne Heritage Trail.