11 May 2019

Three windows in Saint Editha’s Church
tell the story of Tamworth’s patron saint

Saint Editha represented in a statue in the south-east corner of the chancel in Saint Editha’s Church, Tamworth (Photograph: Patrick Comerford, 2019)

Patrick Comerford

I was in Saint Editha’s Church in Tamworth on Thursday evening at the invitation of the Tamworth and District Civic Society to speak about the Comberford Family, Comberford Hall and the Moat House.

I returned to visit Saint Editha’s Church on Friday morning [10 May 2019] and to visit the Comberford chapel. But I also took time to view the three windows telling the story of Saint Editha.

So, who was Saint Editha? And why did she give her name to the parish church in Tamworth.

A set of three windows on the south side of the chancel, high above the High Altar, tell the story of Saint Editha and how she became the town’s patron saint.

Editha is said to have been the devout Christian daughter of Athelstane, King of Mercia, the expansive Anglo-Saxon kingdom in the Midlands which had its ecclesiastical capital in Lichfield and its civic and political capital in Tamworth.

However, the historical identity of Editha or Edith (Ealdgyth) and the dates of her lifespan are uncertain and question about her historical identity is fraught with difficulties. Some sources say she was a daughter of King Edward the Elder, other sources say she was the daughter of Egbert of Wessex, while yet other traditions say she was a sister of King Æthelstan.

Saint Editha was to be given in marriage by her father, or her brother, in the year 925 to Sigtrygg, the Norse ruler of Northumbria in the North of England. It was not exactly a love marriage, and was planned as a symbol of peace between the two kingdoms. Fifty years earlier, the Vikings had invaded Mercia from the north, and had ransacked Tamworth.

The legend says that Editha refused to marry Sigtrygg unless he agreed to convert to Christianity. The marriage took place in the church in Tamworth, but Sigtrygg reneged on his undertaking, returned north without Editha. The marriage was never consummated and was annulled.

Saint Editha, who always wanted to be a nun, joined a convent near Tamworth at Polesworth, which may have been founded by that other Staffordshire saint, Saint Modwen, or Saint Modwenna, a female hermit who lived near Burton-on-Trent.

She later became the Abbess of Tamworth, and was known for her charitable deeds. She died in 960, and the memory of her inspired great devotion to her in Tamworth.

In yet another Danish invasion of the Staffordshire area three years later, Tamworth was destroyed once again. King Edgar of England rebuilt Tamworth, and at the same time Editha was declared a saint. The parish church has been dedicated to her ever since.

After the invasion of England in 1066, William the Conqueror gave the lands around Tamworth to the new lord, Marmion. One day after hunting in Hopwas Wood near Tamworth, Marmion fell into a sleep in which he dreamt that Saint Editha had struck him with her crozier of office, causing a deep wound. When he awoke, he found he had been badly wounded indeed.

When the wound refused to heal, Marmion decided to restore Saint Editha’s former nunnery to the Benedictine nuns, who build a new convent on the site.

In the late 19th century, Ford Madox Brown (1821-1893), one of the great Pre-Raphaelite painters of his day, was commissioned by a Mr Willington, to design the windows telling the story of Saint Editha. These magnificent windows, high up in the clerestory on the south side of the chancel, were made at the studios of William Morris (1834-1896), a Pre-Raphaelite and a member of the Arts and Crafts Movement.

The Willington family in Tamworth included Waldyve Willington, Parliamentarian Governor of Tamworth in 1645, John Willington, steward of the Townshend estate at Tamworth Castle in the 19th century, who lived at the Moat House on Lichfield Street, and Francis Willington, Town Clerk of Tamworth.

The first of three window tells the story of the marriage of Editha of Mercia and Sigtrygg of Northumbria (Photograph: Patrick Comerford, 2019)

From the east, the first window represents the marriage of Editha of Mercia and Sigtrygg of Northumbria. The left panel shows Athelstane taking Editha by the right hand to give her away in marriage. In the two centre panels, Sigtrygg is seen placing a wedding ring on Editha’s left hand. The pane on the right shows Ella, Bishop of Lichfield, blessing the marriage.

At the top of the window is a Norse galley as an emblem of Sigtrygg. At the foot of the window is the heraldic arms of Athelstane, the Willington family, Sigtrygg and the Bishop of Lichfield. The Willington arms are used here as Editha had no arms.

The second window shows Saint Editha and her nuns witnessing a vision of the Virgin Mary (Photograph: Patrick Comerford, 2019)

The second window represents Editha, whose nunnery was in Tamworth, as an Abbess with a crozier in her right hand in the first panel, and her nuns with her in the two centre panels, beholding a vision portrayed in the fourth panel of the Virgin Mary, patron of the Benedictine Order to which the nunnery belonged, with the Christ Child.

At the top of this window is panel with the tower of Saint Editha’s nunnery. The nuns had no heraldic arms, so the four panels at the bottom of the window depict the arms of the Willington family, Guy de Beauchamp (1272-1315), 10th Earl of Warwick, and the Bracebridge and Waldyve families, who all claimed descent from King Athelstane of Mercia.

The third window deals with two subjects. The two panels to the left show William the Conqueror resting on a mighty sword, presenting Tamworth Castle to Marmion. The two panels to the right depict Saint Editha striking Marmion with her crozier for banishing the nuns. When he awoke and his wound failed to heal, he allowed the nuns to return.

The panel at the top of this third window shows Tamworth Castle. The four heraldic panels at the foot of the window depict the arms of William the Conqueror, the Marmion family and their successors at Tamworth Castle, and the Willington family.

Other churches dedicated to Saint Edith include Church Eaton in Staffordshire, Amington Parish Church near Tamworth, Saint Edith’s Church in Monks Kirby, Warwickshire, and a number of churches in Louth, Lincolnshire. Her feast day is 15 July.

The third window tells the story of the Marmion family of Tamworth Castle and a vision of Saint Editha (Photograph: Patrick Comerford, 2019)

Is there hope of new life for
the world’s oldest railway
terminus in Birmingham?

The original Birmingham Station is the world’s oldest surviving example of monumental railway architecture (Photograph: Patrick Comerford, 2019)

Patrick Comerford

Arriving in Birmingham New Street Station by rail from either Lichfield or Birmingham Airport, I have often been struck by a classical building that stands alone in front of large tract of waste land.

For the best part of half a century, I have wondered why this building is so forlorn, what it was built for, and who designed it. I learned during this week’s visit to Tamworth that this is the former Curzon Street railway station, which opened as Birmingham Station in 1838, and that it is the world’s oldest surviving example of monumental railway architecture.

This Grade I listed entrance building was designed by Philip Hardwick (1792-1870), an English architect, particularly associated with railway stations. He is probably best known for London’s demolished Euston Arch and its twin station at Curzon Street, which is now the oldest railway terminus building in the world.

Hardwick’s new station at Curzon Street was built in 1838 at a cost of £28,000. Its architectural design is Roman inspired, following Hardwick’s visit to Italy in 1818-1819.

The tall pillars running up the front of the building are made out of a series of huge blocks of stone. The design mirrored the Euston Arch at the London end of the L&BR. The Propylaeum or Doric Euston Arch was designed by Hardwick in 1837 for the London and Birmingham Railway at a cost of £35,000, and was modelled on the entrance to the Acropolis in Athens.

In Hardwick’s original design, the Curzon Street building in Birmingham was to be flanked by two arches leading into the station. However, these were never built. Inside, the building housed the booking hall, with a large iron balustraded stone staircase, a refreshment room and offices.

Although the building is three storeys tall, it is relatively small. A now demolished hotel extension was added to the northern side of the building in 1840. The hotel closed when Queen’s Hotel was opened beside New Street Station, and the building was later used as railway offices.

Curzon Street station opened as Birmingham Station in 1838 (Photograph: Patrick Comerford, 2019)

The station opened as Birmingham Station on 24 June 1838, with the first train from London to Birmingham arriving on 17 September. It was the terminus for both the London and Birmingham Railway and the Grand Junction Railway. The companies had adjacent, parallel platforms but there were no through trains.

The Grand Junction Railway arrived at Curzon Street in 1839. Although the line had opened in 1837, one year before the London and Birmingham Railway, it originally ran to a temporary terminus at Vauxhall. A viaduct had to be built to allow the line to reach Curzon Street. The smaller Lawley Street station later opened a short distance to the east. This was the terminus of the Birmingham and Derby Junction Railway, a forerunner of the Midland Railway.

Behind the main entrance building, the L&B station had a wrought-iron framed train shed that had two spans, and covered an area 66 metres long and 34 metres wide. It had two platforms, one for departures and one for arrivals. The Grand Junction Railway had parallel departure and arrivals platforms and a separate entrance building and booking office, now demolished, further along Curzon Street. This was designed by the architect Joseph Franklin.

The station was used by scheduled passenger trains from 1838 to 1854, when it was the terminus for both the London and Birmingham Railway and the Grand Junction Railway, with lines to London, Manchester and Liverpool.

The station’s name was changed from Birmingham to Birmingham Curzon Street in November 1852. By then, its days as a major passenger station were numbered. Curzon Street was inconveniently located on the east edge of Birmingham city centre, and the station’s facilities were inadequate for the growing traffic.

Following the merger of the L&B and Grand Junction railways into the London and North Western Railway (LNWR) in 1846, work began on a new and more conveniently located Grand Central station half a mile to the west. This new station would become known as Birmingham New Street. It was shared with the Midland Railway, and was completed in 1854. Most passenger services were diverted to the new station the same year.

The station continued to be used by some local services to Sutton Coldfield and by excursion trains until 1893. But the station closed to passengers in 1893, It remained open for goods only until 1966, when it finally closed.

The platforms and the original train sheds were demolished in 1966. A commemorative plaque beside the station entrance was unveiled in 1988: ‘This plaque commemorates the 150th anniversary of the arrival of the first London to Birmingham train at this station on Monday 17th September 1838.’

The site was used as a Parcelforce depot for 40 years until May 2006.

In recent years, the surviving Grade I listed entrance building has been used for occasional art events and exhibitions. It was used by a University of Birmingham student theatre group, the Three Bugs Fringe Theatre. At one time, the building was also proposed as a home for the Royal College of Organists, but this plan fell through in 2005 for lack of funds.

Birmingham City Council had hoped to refurbish the building and find an alternative tenant. It was expected to be the centrepiece of the City Park and Masshouse development scheme around the site, and most of the surrounding buildings having been demolished.

These plans have now been superseded by the High Speed 2 proposals. A new station, partly on the site of the Curzon Street station, has been proposed as the Birmingham terminus for HS2 and the hub for the high-speed line linking London and Birmingham. The plans to redevelop the remaining Grade 1 listed building include turning it into a visitor centre and office space for HS2 and other organisations.

Meanwhile, Hardwick’s the 1837 Propylaeum or Doric Euston Arch at the old Euston Station in London was demolished in the early 1960s, despite campaigns and protests by John Betjeman and other conservationists.

Hardwick’s son, Philip Charles Hardwick (1822-1892), was brought to Ireland by third Earl of Dunraven, to complete Adare Manor and to work in Adare, Co Limerick, where he rebuilt Holy Trinity Church as the Roman Catholic parish church. He built a church in Sneem, Co Kerry, designed many of the buildings at Saint Columba’s College, Rathfarnham, and designed Saint John’s Roman Catholic Cathedral and the Redemptorist Church of Mount Saint Alphonsus in Limerick.

A new station on the site of the Curzon Street station, has been proposed as the Birmingham terminus for HS2 (Photograph: Patrick Comerford, 2019)