Showing posts with label Maids Moreton. Show all posts
Showing posts with label Maids Moreton. Show all posts

14 April 2026

Daily prayer in Easter 2026:
10, Tuesday 14 April 2026

Nicodemus visits Christ at night … a window in Saint John-at-Hampstead Church, London (Photograph: Patrick Comerford)

Patrick Comerford

Our Easter celebrations continue in the Church Calendar, and this week began with the Second Sunday of Easter (Easter II) or, in the calendar of the Greek Orthodox Church, with Easter Day.

Before today begins, I am taking some quiet time this morning to give thanks, to reflect, to pray and to read in these ways:

1, reading today’s Gospel reading;

2, a short reflection;

3, a prayer from the USPG prayer diary;

4, the Collects and Post-Communion prayer of the day.

‘Just as Moses lifted up the serpent in the wilderness, so must the Son of Man be lifted up’ (John 3: 14) … a window in Saint Editha’s Church, Tamworth, in memory of Joseph Gray of Maids Moreton (Photograph: Patrick Comerford)

John 3: 7-15 (NRSVA):

[Jesus said:] 7 Do not be astonished that I said to you, “You must be born from above.” 8 The wind blows where it chooses, and you hear the sound of it, but you do not know where it comes from or where it goes. So it is with everyone who is born of the Spirit.’ 9 Nicodemus said to him, ‘How can these things be?’ 10 Jesus answered him, ‘Are you a teacher of Israel, and yet you do not understand these things?

11 ‘Very truly, I tell you, we speak of what we know and testify to what we have seen; yet you do not receive our testimony. 12 If I have told you about earthly things and you do not believe, how can you believe if I tell you about heavenly things? 13 No one has ascended into heaven except the one who descended from heaven, the Son of Man. 14 And just as Moses lifted up the serpent in the wilderness, so must the Son of Man be lifted up, 15 that whoever believes in him may have eternal life.’

‘The wind blows where it chooses, and you hear the sound of it, but you do not know where it comes from or where it goes’ (John 3: 8) … travelling from Dalkey to Bray on the Dart at Killiney (Photograph: Patrick Comerford)

Today’s Reflections:

In the readings for three days this week, from Monday to Wednesday, we meet Nicodemus, a prominent Pharisee, a rabbi, a teacher and a member of the Sanhedrin. He has a Greek name – Νικοδημος (Nikodemos) means ‘victory of the people’ – and this Greek name probably indicates he is an urbane and sophisticated man.

Nicodemus appears three times in Saint John’s Gospel:

1, He visits Christ at night to discuss Christ’s teachings (John 3: 1-21)
2, He reminds his colleagues in the Sanhedrin that the law requires that a person should be heard before being judged (John 7: 50-51)
3, At the Crucifixion, he provides the embalming spices and helps Joseph of Arimathea to prepare the body of Christ for burial (John 19: 39-42)

In this first encounter, Nicodemus comes to Christ by night. Perhaps he did not want to be seen consulting Jesus, who is newly-arrived in Jerusalem and is already causing a stir. But we should remember too that Saint John’s Gospel uses poetic and dramatic contrasts: heaven and earth, water and wine, seeing and believing, faith and doubt, truth and falseness. Here too we have the contrast between darkness and light, the world that is in darkness is being brought into the light of Christ.

Nicodemus is a good and pious Pharisee and member of the Sanhedrin, the highest Jewish religious court. But, despite his positive attitudes to the Mosaic Law, what is the foundation of his faith?

Nicodemus acknowledges Christ is a teacher sent by God. But is this enough – is it simply an understanding of Christ without faith? At this point, Nicodemus sees but does not believe; he has insight but does not have faith.

Christ’s reply puts the emphasis back on faith rather than on law, on believing more than seeing. But does Nicodemus understand this?

Nicodemus seems to misunderstand what he hears. He thinks Christ is speaking about a second physical, natural birth from a mother’s womb.

The dialogue that follows includes two of the most quoted passages in Saint John’s Gospel:

• ‘Very truly, I tell you, no one can see the kingdom of God without being born from above’ or ‘born again’ (verse 5)

• ‘For God so loved the world that he gave his only Son, so that everyone who believes in him may not perish but may have eternal life’ (verse 16)

Today’s reading is placed between these two well-known sayings. Christ tells Nicodemus: ‘The wind blows where it chooses, and you hear the sound of it, but you do not know where it comes from or where it goes. So it is with everyone who is born of the Spirit’ (verse 8).

Nicodemus is confused or perplexed and asks: ‘How can these things be?’ (verse 9). Christ responds, asking him: ‘Are you a teacher of Israel, and yet you do not understand these things?’ (verse 10).

The conversation moves from the general to the particular, from the faith of many to the faith of one individual. When Jesus recalls in verse 7, ‘Do not be astonished that I said to you’, the Greek pronoun used (ὑμᾶς) is in the accusative plural form of the second-person pronoun. It signifies ‘you’ as the direct object when the speaker or writer addresses a group; so Jesus has been teaching a number of people, a group, or many people.

But when Jesus goes on to say, ‘Very truly, I tell you … yet you do not receive our testimony’ (verse 11), the first use of the word ‘you’ is singular, meaning you yourself, but the second use is plural.

It is difficult to notice these shifts in the English translations, to notice how Jesus moves from the second person singular to the first personal plural, from ‘you’ to we, then ‘you’ (plural) and ‘our’.

Who is the ‘we’ here, who owns what is ‘our’?

Too often, in the evangelical traditions, there is an emphasis on personal faith and personal salvation that makes no connection with collective faith, the faith of the Church, and makes no connection with the message of salvation not just for individuals, for humanity, or even the world, but the whole created cosmos.

When Christ speaks of the wind in verse 8, the Greek word used (πνεῦμα, pneuma) means both spirit and wind, while the word ‘sound’ (φωνή, phōnē) can also be translated as ‘voice’. I am reminded of Ezekiel 36: 25-27, where it says: ‘I will sprinkle clean water upon you, and you shall be clean from all your uncleanliness, and from all your idols I will cleanse you. A new heart I will give you, and a new spirit I will put within you; and I will remove from your body the heart of stone and give you a heart of flesh. I will put my spirit within you, and make you follow my statutes and be careful to observe my ordinances.’

Nicodemus has floundered around; he really fails to grasp what Jesus is saying and its implications. His question is phrased: ‘How can this be?’ (RSV), or: ‘How can these things be?’ (NRSV). Others suggest that his question should be translated as: ‘How can these things happen?’ or even more literally: ‘How is it possible for these things to happen?’

A teacher ought to be aware of the truth. But Nicodemus seems to be behaving like a weak pupil.

In verse 12, we find a contrast between earthly things, such as the parable of the wind (see verse 8), and heavenly things, as in supreme spiritual realities. And Nicodemus is offered a choice. Which choice does he make?

Christ descended from heaven to bring eternal life, participation in God’s life. In verse 13, we read the first of Saint John’s three sayings about the Son of Man being lifted up, and it is comparable to three passages in Saint Mark’s Gospel on the Son of Man’s passion (see Mark 8: 31; Mark 9: 31; Mark 10: 33).

The word ‘lift up’ (verse 14) refers to both Christ being lifted up on the Cross and Christ being lifted up into heaven – the cross is the first step on the ladder of the ascension. For the imagery being drawn on here see also Numbers 21: 4-9. The writer of the Book of Wisdom calls the serpent a symbol of salvation (Wisdom 16: 6). But this verse also recalls the earlier remark to Nathanael that he would see the heavens opened and the angels of God ascending and descending on the Son of Man (see John 1: 51).

Nicodemus would have left Jesus that night challenged to ask whether he needed to move beyond the Law to an encounter with the living God, an encounter that brings death and rebirth. But the dialogue continues in tomorrow’s Gospel reading (John 3: 16-21).

Χριστὸς ἀνέστη!
Christ is Risen!


Nicodemus depicted in a wall-painting in Saint Guthlac’s Church in Passenham, Northamptonshire (Photograph: Patrick Comerford)

Today’s Prayers (Tuesday 14 April 2026):

‘Stocked with Hope’ provides the theme this week in ‘Pray With the World Church’, the Prayer Diary of the Anglican mission agency USPG (United Society Partners in the Gospel), pp 46-47. This theme was introduced on Sunday with a Programme Update by Mayank Thomas, Programme Manager, the Synodical Board of Social Services, Church of North India.

The USPG Prayer Diary today (Tuesday 14 April 2026) invites us to pray:

God, bless all who join CNI’s sessions on dignity and equal rights in various parts of North India. Strengthen their voices to guide others toward respect, fairness, and equality.

The Collect:

Almighty Father,
you have given your only Son to die for our sins
and to rise again for our justification:
grant us so to put away the leaven of malice and wickedness
that we may always serve you
in pureness of living and truth;
through the merits of your Son Jesus Christ our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.

The Post-Communion Prayer:

Lord God our Father,
through our Saviour Jesus Christ
you have assured your children of eternal life
and in baptism have made us one with him:
deliver us from the death of sin
and raise us to new life in your love, in the fellowship of the Holy Spirit,
by the grace of our Lord Jesus Christ.

Additional Collect:

Risen Christ,
for whom no door is locked, no entrance barred:
open the doors of our hearts,
that we may seek the good of others
and walk the joyful road of sacrifice and peace,
to the praise of God the Father.

Yesterday’s Reflections

Continued Tomorrow

‘Just as Moses lifted up the serpent in the wilderness, so must the Son of Man be lifted up’ (John 3: 14) … an icon of the Elevation of the Holy Cross in Arkadi Monastery, near Rethymnon in Crete (Photograph: Patrick Comerford)

Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org

20 November 2025

Daily prayer in the Kingdom Season:
20, Thursday 20 November 2025

‘As he came near and saw the city, he wept over it’ (Luke 19: 42) … the city of Jerusalem depicted on a tile in a restaurant in Dublin (Photograph: Patrick Comerford)

Patrick Comerford

We are in the Kingdom Season, the time between All Saints’ Day and Advent, and this week began with the Second Sunday before Advent. The calendar of the Church of England in Common Worship today remembers Saint Edmund (870), King of the East Angles, Martyr, and Priscilla Lydia Sellon (1821-1876), a Restorer of the Religious Life in the Church of England.

I hope to join some rehearsals with a playreading group in the Library in Stony Stratford later today. But, before the day begins, before having breakfast, I am taking some quiet time early this morning to give thanks, to reflect, to pray and to read in these ways:

1, today’s Gospel reading;

2, a short reflection;

3, a prayer from the USPG prayer diary;

4, the Collects and Post-Communion prayer of the day.

‘As he came near and saw the city, he wept over it’ (Luke 19: 41) … ‘The Holy City,’ a batik by Thetis Blacker in the Royal Foundation of Saint Katharine in London (Photograph: Patrick Comerford)

Luke 19: 41-44 (NRSVA):

41 As he came near and saw the city, he wept over it, 42 saying, ‘If you, even you, had only recognized on this day the things that make for peace! But now they are hidden from your eyes. 43 Indeed, the days will come upon you, when your enemies will set up ramparts around you and surround you, and hem you in on every side. 44 They will crush you to the ground, you and your children within you, and they will not leave within you one stone upon another; because you did not recognize the time of your visitation from God.’

‘As he came near and saw the city, he wept over it’ (Luke 1941: 11) … Jerusalem in bright lights in Jerusalem Restaurant in Camden Street, Dublin (Photograph: Patrick Comerford)

Today’s reflection:

The Gospel reading at the Eucharist this morning (Luke 19: 41-44) continues the apocalyptic themes found in our readings as we prepare for the coming of Christ as Christ the King and as the Word made Flesh.

In the Gospel reading on Sunday (Luke 21: 5-19), as Jesus was hears some people talking about the Temple in Jerusalem and how it was adorned with beautiful stones and gifts dedicated to God, Jesus responded, ‘As for these things that you see, the days will come when not one stone will be left upon another; all will be thrown down’ (Luke 21: 6).

Luke 21 – and the parallels in Matthew 24-25 and Mark 13 – are known as the ‘Little Apocalypse’, with prophecies about the destruction of the Temple in Jerusalem and the end times. There are warnings about tribulation, persecution, and the coming of the Son of Man, but the passage also encourages vigilance and faith in the face of these events.

In advance of the ‘Little Apocalypse’, in the Gospel reading at the Eucharist this morning (Luke 19: 41-44), Jesus looks over Jerusalem and he weeps over the city, saying, ‘If you, even you, had only recognized on this day the things that make for peace! But now they are hidden from your eyes. Indeed, the days will come upon you, when your enemies will set up ramparts around you and surround you, and hem you in on every side. They will crush you to the ground, you and your children within you, and they will not leave within you one stone upon another; because you did not recognize the time of your visitation from God.’

Like Sunday’s readings, we seem to be living in days when, in the wake of Trump’s election, we ‘hear of wars and rumours of wars’. It is so very easy to alarmed, worrying about the days are to come, and the potential for nation to rise against nation, and kingdom against kingdom. Doubtless, in the months to come, there will be the equivalent of earthquakes in many places, and the equivalent of famines: a dearth or famine of public compassion, political decency, honesty and morality and diplomatic sense and wisdom.

It is even more disheartening that whole segments of American society that call themselves evangelical Christians have voted for the apocalyptic gloom that is facing the world in the four years to come.

The former Moderator of the Presbyterian Church in Ireland, the Very Revd Dr Trevor Morrow, reposted on Facebook last year a response to the thinking of many Evangelical Christians, particularly in the US, by his Palestinian friend, the Revd Dr Munther Isaac of the Evangelical Lutheran Christmas Church in Bethlehem and the Lutheran Church in Beit Sahour, the Academic Dean of Bethlehem Bible College:

‘The irony for us Palestinian Christians is that evangelicals, with their emphasis on prophecy, have lost the capacity of being prophetic. You want to prove that the Bible is right? You don’t do this by pointing to self-fulfilling prophecy or by pointing to world events as prophecy fulfilment. That is not how you prove that the Bible is right.

‘We prove that the Bible is right by radical obedience to the teachings of Jesus – by proving that Jesus’ teachings actually work and that they can make the world a better place. Let us love our enemies. Forgive those who sin against us. Let us feed the poor. Care for the oppressed. Walk the extra mile. Be inclusive, not exclusive. Turn the other cheek. And maybe, and only maybe then, the world will start to take us seriously and believing in the Bible.’

The Revd Dr Munther Isaac of the Evangelical Lutheran Christmas Church in Bethlehem and the Lutheran Church in Beit Sahour is also the Academic Dean of Bethlehem Bible College

Today’s Prayers (Thursday 20 November 2025):

The theme this week (16 to 22 November) in Pray with the World Church, the prayer diary of the Anglican mission agency USPG (United Society Partners in the Gospel), is ‘In the Shadow of the Carneddau’ (pp 56-57). This theme was introduced on Sunday with Reflections from Bishop Andrew John, who stepped down as Archbishop of Wales and Bishop of Bangor on 27 June.

The USPG Prayer Diary today invites us to pray:

Pray for one another and for good stewardship of our precious resources.

The Collect:

Eternal God,
whose servant Edmund kept faith to the end,
both with you and with his people,
and glorified you by his death:
grant us such steadfastness of faith
that, with the noble army of martyrs,
we may come to enjoy the fullness of the resurrection life;
through Jesus Christ your Son our Lord,
who is alive and reigns with you,
in the unity of the Holy Spirit,
one God, now and for ever.

Post Communion Prayer:

God our redeemer,
whose Church was strengthened by the blood of your martyr Edmund:
so bind us, in life and death, to Christ’s sacrifice
that our lives, broken and offered with his,
may carry his death and proclaim his resurrection in the world;
through Jesus Christ our Lord.

Yesterday’s Reflections

Continued Tomorrow

A modern portrait of Saint Edmund, king and martyr, in Saint Edmund’s Church, Maids Moreton, Buckinghamshire (Photograph: Patrick Comerford, 2025)

Scripture quotations are from the New Revised Standard Version Bible: Anglicised Edition copyright © 1989, 1995 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved worldwide. http://nrsvbibles.org

13 November 2025

Two cottages and two houses
on Moreton Road contribute
to the colourful architectural
heritage of Buckingham

The Cottage on a bend on Moreton Road, Buckingham … an early 19th century ‘picture postcard’ blue and white ‘cottage orné’ (Photograph: Patrick Comerford, 2025)

Patrick Comerford

As I was walking between Buckingham and Maids Moreton a few times this week and last, four houses at the Buckingham end of Moreton Road that are Grade II listed buildings caught my attention: Moriah Cottage, Sandon House and Fernleigh are side-by-side with one another, and, facing them on the opposite side of Moreton Road, is The Cottage at 47 Moreton Road.

The Cottage is on a bend on the road and set back from the street behind a hedge. It is an attractive ‘picture postcard’ blue and white cottage orné dating from the early 19th century.

It is set back from the street behind hedges and railings and remains a unique example in Buckingham of this picturesque style of architecture.

The Cottage on Moreton Road, Buckingham, is set back from the street behind hedges and railings (Photograph: Patrick Comerford, 2025)

The cottage orné or decorated cottage style dates from a movement of ‘rustic’ stylised cottages in the late 18th and early 19th century, when there was a fashion to discover a more ‘natural’ way of living as opposed to the formality of the baroque and neo-classical architectural styles.

As with the earlier Petit hameau de la Reine at Versaillesin France, these picturesque cottages were popular with aristocratic and gentry families in the early 19th century as places to ‘play at being peasants’ and to entertain guests, and as places for picnics, card games and theatricals.

English Heritage defines the term as ‘a rustic building of picturesque design.’ These cottages often feature well-shaped thatch roofs and ornate timberwork. Many were inspired by Strawberry Hill House – often known simply as Strawberry Hill – the Gothic Revival villa in Twickenham built by Horace Walpole (1717-1797) in 1749-1776.

Some cottages in this style in Ireland include the Swiss Cottage in Cahir, Co Tipperary, designed by the Regency architect John Nash (1752-1835) ca 1817 for Richard Butler (1775-1819), 1st Earl of Glengall; Martinstown House, Co Kildare, designed by Decimus Burton (1800-1881) for Augustus Frederick FitzGerald (1791-1874), 3rd Duke of Leinster; and Laurelmere Lodge in Marlay Park, Rathfarnham, designed for the La Touche family and later known as Tamplin’s Cottage – although, to generations of children in south Dublin, it is known as ‘Goldilocks Cottage.’ There are similar cottages at Burrenwood, Co Down, Derrymore, Co Armagh, and Glengarriff, Co Cork.

The Cottage in Buckingham has a central hipped tiled range with thatched roofs on the small side wings (Photograph: Patrick Comerford, 2025)

The Cottage on Moreton Road in Buckingham is a storey and a half in height, is ‘T’-shaped in plan and has a central hipped tiled range with thatched roofs on the small side wings on each side, and with rear ranges, a brick ridge and end stacks. It is built of brick, pebble-dashed and colour washed. The windows are metal casements with arched heads.

The house has a central plank door with a pointed arched head flanked by two-light leaded casement windows with pointed arched heads, central division and glazing bars that evoke Y-tracery. Similar ‘Gothick-style’ leaded casement can been seen in the wing to the left.

The wing to the rear, behind the central unit, has a half-hipped thatch roof and an attic storey, with a pair of two-light leaded casements on the ground floor, pointed-arched heads and a two-light leaded casement in the attic.

The right wing is separate from the rest of the cottage and it was formerly an outbuilding. The right-hand wing has a plank door to the left with a pointed-arched head and a small quartered window to the far right. Undressed timbers are said to be used in the roofs throughout The Cottage.

Moriah Cottage was once the coachman’s house for Sandon House (Photograph: Patrick Comerford, 2025)

Across the street from the Cottage, Moriah Cottage is a curious and eye-catching detached house on Moreton Road. It was once the coachman’s house for Sandon House. Moriah Cottage was built in the Tudor style in the early 19th century and was altered in the 20th century. It house stands close to the back edge of the footpath, with its gable end facing onto the street.

But how did Moriah Cottage gets its name?

Moriah Cottage may take its name from the place in the Book of Genesis where Abraham’s binding of Isaac is said to have taken place. Traditionally, the mountain in Genesis is also identified with Mount Moriah in the Book of Chronicles where Solomon’s Temple was built. Both places are identified with the present Temple Mount in Jerusalem.< br />
Moriah Cottage drip-moulds to the windows and the central arched doorway (Photograph: Patrick Comerford, 2025)

Moriah Cottage is two storeys high, with a basement, and the front façade of the house is the gable end. The roof is covered in Welsh slate and the wooden bargeboards are ornamental. A prominent element of the elevation facing onto the street is the ground floor drip-moulds to the windows and the central arched doorway.

In front of the 20th century front door is one stone step. The door has a depressed arched head, a rendered surround with incised masonry patterns and a hood mould.

The two-light casement windows on the ground floor and the first floor have similar surrounds, and those on the ground floor have hood moulds. There is a rendered, chamfered plinth with basement windows on either side of door with cambered arched heads.

Sandon House on Moreton Road is set back from the road and probably dates from the late 18th century (Photograph: Patrick Comerford, 2025)

Beside Moriah Cottage, Sandon House on Moreton Road is set back from the road behind a low brick wall, and it probably dates from the late 18th century. The stone house was re-fronted in red brick in the early 19th century. It is a three-bay, four-storey red brick house in Flemish bond with a slate roof and brick end stacks.

A flight of 11 stone steps leads to up to the central front door at the first-floor level. The steps have iron balustrades with standards bearing vase finials. The six-panel door has a fanlight with intersecting glazing bars, panelled reveals and a round-arched head. Other features and details include a curved, hanging bay window and a 12-pane sash window on the first floor, incised masonry patterns, giant blank arches, blank windows and round-arched and segmental-arched heads with key blocks. The semi-circular headed panels at the second-floor level add to the distinctive appearance of Sandon House.

Beside Sandon House on Moreton Road, Fernleigh is an early 19th century red brick house. The house is three bays wide and two storeys high with a cement rendered basement. Like Sandon House, the principal entrance to Fernleigh is up a flight of steps to a central doorway flanked on either side by sash windows.

As a cluster of buildings close to one another on Moreton Road, these four picturesque houses and cottages make an important contribution to the streetscape and to the Conservation Area in the Buckingham North area of Aylesbury Vale.

Fernleigh (left) is an early 19th century house, while Sandon House (right) dates from the late 18th century (Photograph: Patrick Comerford, 2025)

12 November 2025

A memorial in Maids Moreton
and an Irish-born rector’s strong
family links with Co Limerick

The memorial to the Revd Bolton Waller Johnstone in Maids Moreton, decorated with an elaborate Celtic cross (Photograph: Patrick Comerford, 2025)

Patrick Comerford

I was in Maids Moreton, on the edges of Buckingham, twice in the past ten days, looking at the Old Rectory designed by the architect Edward Swinfen Harris (1841-1924) from Stony Stratford, visiting Saint Edmund’s Church, enjoying the timber-framed houses and thatched cottages, and researching the stories and legends of the ‘Maids of Moreton’, the sisters said in local lore to have given Maids Moreton its name.

In Saint Edmund’s Church in Maids Moreton, I noticed a brass tablet on the south wall with a very elaborate and decorated Celtic cross and the inscription below: ‘To the Glory of God and in loving memory of Bolton Waller Johnstone, MA, Rector of this Parish for 26 years who died Nov 8th 1903 Also of Charlotte Lydia his wife who died April 6th 1892. This Tablet is erected by their children RIP’.

At the time Swinfen Harris was working on the Old Rectory and the Victorian monument commemorating the ‘Maids of Moreton’ was being placed in the nave floor, the Revd Bolton Waller Johnstone (1823-1903) was the Rector of Maids Moreton.

He was an Irish-born priest, and I was interested in his connections with my former diocese and parishes: his parents, the Revd John Beresford Johnstone and Elizabeth Waller of Castletown Park, Co Limerick, were married in Saint Mary’s Cathedral, Limerick, where I was once the canon precentor.

His mother was a member of the Waller family whose monuments and memorials line the walls of Castletown Church, Kilcornan, where I was the priest-in-charge for five years. His siblings were born in Co Limerick and were baptised in Saint Michael’s Church, Limerick, while he was born in Kilkenny and educated at Trinity College Dublin.

The monument to Bolton Waller Johnstone is between the windows on the south wall of Saint Edmund’s Church, Maids Moreton (Photograph: Patrick Comerford, 2025)

The Revd Bolton Waller Johnstone, who died at the Rectory in Maids Moreton on 8 November 1892 at the age of 80, was the second son of the Revd John Beresford Johnstone, a former Rector of Tullow, Co Carlow, and Elizabeth Waller, a daughter of Thomas Waller of Castletown Park, Co Limerick. Bolton Waller Johnstone was named after his grandfather, Bolton Waller (1769-1854) of Castletown and Shannon Grove, an MP, High Sheriff, who owned large estates in the Castletown and Kilcornan areas near Pallaskenry, Co Limerick. The Waller family eventually sold off the Castletown estates in 1936.

Bolton Waller Johnstone was born in Kilkenny in 1823 and was named after his maternal grandfather, Bolton Waller (1769-1854) of Castletown. He was educated at Sherborne School and Trinity College Dublin. He was ordained deacon by the Archbishop of York in 1846 and priest by the Bishop of Durham in 1847. He was a curate in many parishes before becoming the perpetual curate (vicar) of Smithill (1850), curate of Holy Trinity, Marylebone (1851), and the Vicar of Farndon near Chester (1854). A year later, in 1855, Johnstone married Charlotte Lydia Coker (1823-1892), the eldest daughter of Captain Thomas Lewis Coker of Bicester House, Oxfordshire.

Johnstone became the Rector of Maids Moreton in 1877, and he remained there until he died 26 years later in 1903. During his time in Maids Moreton, Saint Edmund’s Church underwent a complete restoration, he installed the East Window and also oversaw the building of a new rectory, designed by Edward Swinfen Harris, and the expansion of the village school.

Bolton and Charlotte Johnstone were the parents of one son, the Revd Edward Aubrey Johnstone (1857-1928) and four daughters. During his final illness, his son, Revd Edward Aubrey Johnstone, carried out his duties, in the parish.

Two of his Irish-born sisters, Elizabeth Johnstone (1819-1895) and Sidney Janes Johnston (1820-1900), also came to live in the Rectory in Maids Moreton, and they too are buried there in the churchyard.

The monument to Bolton Waller (1769-1854), grandfather of Bolton Waller Johnstone, in Castletown Church (Photograph: Patrick Comerford)

Bolton Johnstone’s father, the Revd John Beresford Johnstone (1793-1860), was the Rector of Tullow, Co Carlow, and married Elizabeth Waller in Saint Mary’s Cathedral, Limerick, on 12 June 1806; he died in Dublin on 17 June 1860. She was a daughter of Bolton Waller (1769-1854) of Castletown and Shannon Grove, Co Limerick.

The Waller family of Castletown was descended from the regicide, Sir Hardress Waller (1604-1666), who was MP for Askeaton in 1634 and 1640 and one of the judges who passed the sentence of death on King Charles I in 1649. At the restoration of Charles II in 1660, all his friends deserted him, and he fled to France. When he returned to England, he pleaded guilty to regicide. His death sentence was reduced to exile, and he died in Jersey in 1666.

John Thomas Waller, MP for Limerick and High Sheriff, and his wife Elizabeth Maunsell were the parents of John Waller (1763-1836) of Castletown Manor and estate, who initiated the building of Castletown Church.

John Waller was succeeded by his brother, Bolton Waller, High Sheriff of Limerick, whose large estates in Co Limerick included lands in the parishes of Ardcanny and Kilcornan.

The monument to the Revd William Waller (1794-1863) in Castletown Church (Photograph: Patrick Comerford)

Bolton Waller’s son, the Revd William Waller (1794-1863), who was Elizabeth’s brother and Bolton Johnstone’s uncle, was the Rector of Kilcornan from 1842. He married Maria O’Grady, and inherited Castletown from his father in 1854, so that he was both lord of the manor and rector of the parish. He increased the Waller estates by buying up the neighbouring Bury estate.

William Waller’s son, the Revd John Thomas Waller (1827-1911), who was Bolton Johnstone’s first cousin, was also the Rector of Kilcornan, and was appointed to the parish by his father and predecessor.

John Waller was the secretary of the Irish Church Missions, and in that role he was an ardent and zealous evangelical who did much damage to community relations in West Limerick. He used vile language in his tirades, thrived on creating sectarian tensions and stirred up a riot in Pallaskenry in 1861. His land ownings extended to over 6,600 acres.

The monument to the Revd John Thomas Waller in Castletown Church (Photograph: Patrick Comerford)

John Waller’s three sons were also clergymen. The Very Revd Edward Hardress Waller (1859-1938), who was born in Castletown, was the Rector of Athy, Co Kildare (1891-1913), a canon of Christ Church Cathedral, Dublin (1908-1913), before becoming the Dean of Kildare (1913-1928). During the Irish Civil War, when Erskine Childers was about to face the firing squad in Beggar’s Bush Barracks on 24 November 1922, he asked for Dean Waller to be present and to pray with him. He died in Delgany, Co Wicklow, in 1938.

Another son, the Revd John Thomas Waller, was the Rector of Saint Lawrence and Trinity Church, Limerick.

A third son, the Revd Bolton Waller, who was also born at Castletown Manor, was the Rector of Saint Munchin’s in Limerick (1892-1895), and died in Switzerland in 1897. His son, the Revd Bolton Charles Waller (1890-1936), was one of the early forerunners of the modern international peace movement.

Bolton Charles Waller was born in Cork and spent much of his childhood and teenage years on Meath Road and then Carlton Terrace in Bray, Co Wicklow. While he was a student at TCD, Bolton Waller wrote a prizewinning essay, ‘Paths to Peace.’ In the immediate aftermath of World War I, an American had created a prize fund for essays on better ways than war to deal with international conflict. The prize fund totalled £3,000, with a first prize of £1,000 and another £2,000 shared among the writers of rest of the ten best essays.

Bolton Waller’s essay, ‘Paths to Peace’ not only won first prize in the competition, but was also adopted by the League of Nations and subsequently by the United Nations.

Waller was an early advocate of the Irish Free State being admitted to the League of Nations, and was the secretary of the League of Nations Society Ireland. He went on to publish four titles on world peace: Towards the Brotherhood of Nations (1921), Ireland and the League of Nations (1925), Paths to World Peace (1926), and Hibernia, or the Future of Ireland (1928), as well as a 20-page pamphlet on Saint Patrick to mark the Patrician anniversary, Patrick – the Man (Dublin: APCK, 1932).

Bolton Waller was ordained deacon in 1931 and priest in 1932. He was the curate of Holy Trinity, Rathmines (1931-1936), Dublin, and then Rector of Saint John’s Parish, Clondalkin, Co Dublin (1936). But within six months of his appointment to Clondalkin he died in Kilpeacon, Co Limerick, in July 1936 at rhe age of 46. He is buried in Saint John’s Churchyard, Clondalkin.

A year earlier, his first cousin, John Thomas (‘Jack’) Waller (1889-1965), had demolished Castletown Manor, and in 1936 he sold the Castletown estate on behalf of his dying father, William Waller (1857-1937).

There are still traces of Castletown Manor and the Castletown estates in Kilcornan Parish, and memorials to members of the Waller family line the walls of Castletown Church. There is still a need for priests like Bolton Charles Waller who have a vision of finding alternatives to international conflict and a vision of working for world peace.

The walls of Castletown Church, Co Limerick, are lined with memorials to the Waller family (Photograph: Patrick Comerford)

11 November 2025

The Maids of Moreton: were they
generous benefactors of the church?
Or are they merely a local legend?

Who were the Maids of Moreton? … a hidden memorial below the floor and near the north door in Saint Edmund’s Church, Maids Moreton (Photograph: Patrick Comerford, 2025)

Patrick Comerford

In recent days, I have been describing my visits to the village of Maids Moreton, a mile or two outside Buckingham, and I have been looking at its traditional timber-framed and cruck houses, the thatched cottages and Saint Edmund’s Church, the oldest building in the village. The church dates back to the late 14th century, but, as I suggested on Sunday afternoon, it probably stansd on the site of an earlier, Anglo-Saxon church, and many of the pretty houses and cottages date back to the 16th and 17th century.

Local lore says Maids Moreton takes its name from two sisters, the Maids of Maids Moreton, who also co-founded or re-founded the parish church in the village. The legend is so popular and so widely accepted and believed that the sisters are commemorated in a number of ways in different parts of the church.

Tradition in Maids Moreton says the two sisters lived at Manor Farm, a 16th-century house in Maids Moreton.

But who were the Maids of Moreton?

What were their names?

Indeed, did they ever live?

Are they historical people? Or are they merely part of a popular story, albeit heart-warming and inspiring?

By tradition, the church is said to have been built by two pious maiden ladies of the Peyvre family. But this tradition is first recorded only in 1644 in the Civil War diary of the antiquarian Richard Symonds, 200 or 300 years after the sisters are said to have lived.

A stone slab now under a section of the nave floor near the north door that can be lifted, carries the outline of the commemorative brasses for two women with a hairstyle that is said to date the figures to a time between ca 1380 and 1420, and there are reproductions of the images of the two figures in the north-east corner of the chancel.

So, I returned to the church yesterday, and there the Rector, the Revd Hans Taling, and I lifted the covering in the floor to see the brass and stone memoorial with the two figures, its heraldic images and an inscription that dates from as recently as 1890.

The 17th century painted inscription above the north door of the church in Maids Moreton (Photograph: Patrick Comerford, 2025)

Above the north door of thde church is a 17th century painted inscription with the coat of arms of the Pever or Peyvre family and commemorating the founding of the church with the words: ‘Sisters and Maids, Daughters Of The Lord Peovre. The Pious and Munificent Founders of this Church.’

Thomas Peyvre (1344-1429) may well have paid for rebuilding the church. He acted as a banker and would have had the kind of wealth needed to pay for the work. But we start encountering problems when we realise that the painted inscription is 300-350 years later than Thomas Peyvre’s lifetime.

In addition, this is the heraldic emblem of a man, not that of a woman or of two sisters, they are not named, and their father is not clearly identified.

Below this, a black-and-white image shows two women with interlocked arms and in 16th or 17th century dress. But this depiction does not match the images in the brass and stone monument set in the nave floor below, nor does it match the two brass rubbings in the chancel, and it has no label, caption or description, and no explanation of its provenance.

Who were the Maids of Moreton? … an image above the north door in Saint Edmund’s Church, Maids Moreton (Photograph: Patrick Comerford, 2025)

The Revd Hans Taling and I lifted the floor covering in the nave near the north door yesterday to see the stone slab and to inspect the commemorative brasses for two women with hairstyles that are said to date the figures to a 40-year time period between ca 1380 and 1420.

New brasses were inserted in 1890, and a tablet under the feet of the figures bears the inscription: ‘In pious Memory of two Maids, daughters of Thomas Pever, Patron of this Benefice. These figures are placed in the ancient Matrix by MT Andrewes, Lady of the Manor, in 1890. Tradition tells that they built this church and died about 1480.’

But Thomas Peyvre’s only daughter Mary was not what was once called a ‘maid’, nor was she one of two sisters. She died before her father, but by then she had married John Broughton. Their son, also John Broughton, inherited both the Peyvre and the Broughton estates.

Once again, this inscription was put in place about 500 years after the date it gives for the death of the two sisters, and that date, ca 1480, is perhaps a century after both the dating of the images and the probable date when the church itself was built.

Research in 2016 found documents recording two sisters, named Alice and Edith de Morton, who held part of a manor in Moreton from 1393 to 1421. Could they have been the true maids of Maids Moreton and, if so, was the stone slab theirs? But then, if this is the case, the two shields with Peyvre arms on the slab are later embellishments, if not forgeries.

The reproductions of the hidden floor memorials in the chancel in Saint Edmund’s Church, Maids Moreton, Buckinghamshire (Photographs: Patrick Comerford, 2025)

The story of the Maids of Moreton has developed different strands over time. One version says the sisters were conjoined or ‘Siamese’ twins, and pictures were produced showing them with their arms linked, suggesting that they were joined at the arm.

This version of the tradition says that when one sister died, the other refused to be separated from her and so died also.

The maiden sisters are commemorated not only in the church and in the name of the village, Maids Moreton, but also in a Victorian poem by the Revd Joseph Tarver, Rector of Tyringham with Filgrave, Buckinghamshire.

The story of the Maids of Moreton seems to have been enriched with details from the legends of Mary and Eliza Chulkhurst or Chalkhurst (1100-1134), conjoined twins commonly known as the ‘Biddenden Maids’, who were from Biddenden in Kent. But the story of the ‘Biddenden Maids’ is new known to be a legend, drawing in part on ancient Irish manuscripts, including the Chronicon Scotorum, the Annals of the Four Masters and the Annals of Clonmacnoise.

Perhaps we should stop trying to match the name of Maids Moreton with the legends associated with the ‘Maids of Moreton’ and the foundation of Saint Edmund’s Church, and simply allow a good story to remain a good story – and nothing more than that.

Saint Edmund’s Church in Maids Moreton, Buckinghamshire, dates from the late 14th century but probably stands on the site of an earlier Anglo-Saxon church (Photograph: Patrick Comerford, 2025)

09 November 2025

Saint Edmund’s Church in
Maids Moreton was rebuilt
in the 1450s, but may date
from the Anglo-Saxon period

Saint Edmund’s Church in Maids Moreton, Buckinghamshire, dates from the late 14th century but probably stands on the site of an earlier Anglo-Saxon church (Photograph: Patrick Comerford, 2025)

Patrick Comerford

I was in Maids Moreton, on the edges of Buckingham, earlier last week, looking for the Old Rectory as part of my continuing research into the work of the Stony Stratford architect Edward Swinfen Harris (1841-1924).

Maids Moreton is a pretty Buckinghamshire village that retains its rural and rustic charms despite its proximity to Buckingham, with many timber framed houses and thatched cottages in the village. But the oldest building in Maids Moreton is the Parish Church of Saint Edmund, said to date from the late 14th century but probably standing on the site of an earlier Anglo-Saxon church.

Saint Edmund’s is dedicated to the ninth century Anglo-Saxon King Edmund who was martyred and beheaded by the Danes in Essex in the year 869. He is buried at Bury St Edmunds and Saint Edmund and Saint Edward the Confessor were the patron saints of mediaeval England until they were replaced by Saint George in the 15th century. Saint Edmund’s Day is later next week, on 20 November.

A modern portrait of Saint Edmund, king and martyr, in Saint Edmund’s Church, Maids Moreton (Photograph: Patrick Comerford, 2025)

Saint Edmund’s Church is a simple structure with a chancel, nave and tower, north and south porches and a south vestry that was extended in 1882. It is of exceptional quality in the Perpendicular style, a uniquely English variation of Gothic architecture that emphasises verticality, light and proportion. This is seen in the large windows with vertical mullions that continue downwards to stone seats. The most notable feature of the church are the four fan vaults that are contemporary with the building and among the earliest to be seen today.

The church was entirely rebuilt ca 1450, and later legends and local lore associate the founding or re-founding of the church with two women who became known as the Maids of Moreton. They were said to have been daughters of the last Thomas Pever, who died in 1429, and are said to give Maids Moreton its name.

The legend and its dating is further confused by a stone slab, originally in the centre of the nave and now under a section of the floor that can be lifted. It has the outline of the brasses of two women dated to ca 1380-1420. They too have been identified with the two women said to have given Maids Moreton its name.

Inside Saint Edmund’s Church, Maids Moreton, looking towards the chancel and the east end (Photograph: Patrick Comerford, 2025)

A late 12th century font and some 12th century moulded stones, reused in the rear arches of the windows of the north porch, are parts of an earlier church, and the list of rectors of the parish begins in 1241 with one Robert.

The windows throughout the church, with their tracery of vertical mullions and horizontal transoms, are the most obvious feature in the Perpendicular style. The original oak roofs of the nave and chancel remain. All the vaults in Saint Edmund’s are of an early design and construction, similar to the cloisters of Gloucester Cathedral, with the ribs doubling and re-doubling in number as the cone expands.

These architectural details suggest Saint Edmund’s Church was completed before 1400, and the unusually large number of stone seats, especially in the chancel, suggest it may have been intended for a singing school.

The chancel, the oldest part of Saint Edmund’s Church, may have been built before the Black Death in 14th century (Photograph: Patrick Comerford, 2025)

The chancel is the oldest part of the church and may have been built before the Black Death in 14th century, with the nave and tower built after that. The chancel roof is of two bays, the carved boss at the centre of the tie-beam shows Christ in Majesty sitting on a throne holding the world in his left hand while his right hand is raised in blessing.

The east window has a three-centred arch that is flat at the top rather than pointed in the Gothic tradition. Pieces of mediaeval glass at the top of the window indicate it originally depicted the Tree of Jesse, illustrating the genealogy of Jesus through King David.

The stained glass in the east window is the work of Percy Charles Haydon Bacon (1860-1935), who founded the firm of Percy Bacon & Brothers in 1892. He also made windows in Saint James the Great Church, Hanslope, and Saint Simon and Saint Jude Church, Castlethorpe.

The window by Percy Charles Haydon Bacon was installed in 1898 to mark Queen Victoria’s Diamond Jubilee the previous year. It shows five major events in the life of Christ: the Nativity; the Baptism of Christ in the Jordan by Saint John the Baptist; the Crucifixion; the Resurrection or Noli Me Tangere; and the Ascension, though with only two of the disciples, Saint Peter and Saint John.

The east window by Percy Charles Haydon Bacon was installed in 1898 (Photograph: Patrick Comerford, 2025)

The altar or communion table replaced the pre-Reformation stone altar that may once have held relics of Saint Edmund, and a later Reformation-era table. The carved oak Jacobean table is dated 1623 and the carvings include dragons with grape vines emerging from their mouths, symbols of the Holy Spirit and the fruit of the Spirits, a rose and thistle symbolising the united crowns of England and Scotland, various faces and shields with the name of the donor John More, the donor, and the coat of arms of the More family.

The sedilia on the south side of the chancel has an elaborately carved canopy above the seats for the priest, deacon and subdeacon. The canopy is of chalk, and probably dates from the late 15th century. The painting behind is of uncertain date. It showed the Last Supper, and was defaced probably by Cromwellian soldiers.

The sedilia on the south side of the chancel with its elaborately carved canopy (Photograph: Patrick Comerford, 2025)

The door on the north side of the chancel is made of wide vertical planks, mostly elm, and may have been made hastily to replace a door that Cromwellian soldiers broke through.

An elaborate monument in a recess in the centre of the north wall of the chancel commemorates Penelope Bate and her husband Edward Bate, the son of George Bate, who was the physician to Charles I, Oliver Cromwell and Charles II.

The lectern, now in the chancel, has an oak base and support, with an oak carving of an eagle. It was donated by Eliza Nickols of Oxford, in 1933, in memory of her mother, who was born in Maids Moreton.

The oak chancel screen dates from the 15th century. When Hugh Harrison, a consultant conservationist, examined the screen in 2012, he found convincing evidence that it was no later than the 15th century and had always been in its location. He said ‘the screen is one of the most complete, least altered or damaged mediaeval screens that I have ever seen.’

He found signs of the original red and green polychrome decoration. On top of the screen, at either end of the chancel arch, are two blackened oak figures with shields displaying the hammer and nails of the crucifixion. They may have been corbel fronts or bosses from an old roof.

The oak chancel screen dates from the 15th century (Photograph: Patrick Comerford, 2025)

The nave is divided into four bays by the spacing of the roof trusses. In each of the first, second and fourth bays on either side is a tall, finely-proportioned window of three transomed lights, cinquefoiled in both stages, with vertical tracery in a two-centred head.

In the third bay on either side are the north and south doorways, each set in a recess of the same character as those in the chancel, and rising to the same height as the heads of the windows.

The nave roof has four bays with carved bosses and a carved with a figure of Christ in Judgment sitting on a rainbow. The roof was renovated in 1882, overlaid with new timbers and reroofed.

The pulpit was presented by Bishop Edmund Harold Browne in memory of his parents (Photograph: Patrick Comerford, 2025)

The pulpit has carved oak rails in the Gothic style. It was presented by Edmund Harold Browne (1811-1891), Bishop of Ely, Bishop of Winchester and Norrisian Professor of Divinity at Cambridge, in memory of his parents, who lived at Moreton House and are buried by the church tower.

On the wall behind the pulpit, an 18th century tablet recalls Penelope Packe (1699-1718), a granddaughter of Edward Bate, who is commemorated on the north wall in the chancel, and the first wife of Richard Verney (1693-1752), 13th Lord Willoughby de Broke; she died when she was only 18.

The remains of a piscina – a drain used in rinsing the Communion vessels – in the south-east corner of the nave indicate an altar was originally in that place. The side chapel may have been the Lady Chapel, with a niche in the corner and a peculiar squint or hagiascope, that provided a view of the High Altar, so that the elevation at the two celebrations could take place at the same time.

The font is from the earlier church and may date from the 1140s or 1150s (Photograph: Patrick Comerford, 2025)

The font, which is from the earlier church, is of late Norman character, and has a large circular bowl resting on a large octagonal base and stem. The bowl is decorated with a series of six ornamented and beaded semi-circles, each enclosing a large acanthus leaf, with smaller leaves in the intermediate spaces. The bowl is believed to have been made in the workshop at Saint Peter’s in Northampton in the 1140s or 1150s.

Above the north door is a 17th century painted inscription with the arms of the Peyvre family, commemorating the Maids of Moreton, the legendary founders of the church.

An early Victorian bread basket on the wall near the north door was once used to hold bread distributed to the poor of the parish after evensong in winter. The bread was paid for through a bequest from of John Snart who died in 1743. The basket was rediscovered in the attic of the Old Rectory in 1904. The loaves were last distributed in 1970.

The north porch has embattled parapets, winged cherubim and a fan-vaulted ceiling (Photograph: Patrick Comerford, 2025)

The north porch with its vaulted ceiling and early 17th century outer double door (Photograph: Patrick Comerford, 2025)

An early 17th century double door in the outer entrance of the north porch is set in a frame with a balustered fanlight in the head, bearing the date 1637 and a shield with the heraldic arms of the Pever family.

The porch has embattled parapets, winged figures representing cherubim, and a handsome fan-vaulted ceiling.

The design and execution of the vault is almost identical to the cloister of Gloucester Cathedral. In the rear arches of the windows are some 12th century moulded stones, probably re-used from the original church.

The south porch is smaller and less elaborate than the north porch (Photograph: Patrick Comerford, 2025)

The south porch is smaller and less elaborate than that the north porch – it is without buttresses and has a plain parapet in place of battlements. The roof is fan-vaulted and the internal door was installed during restoration work in the 1880s.

The west doorway has an elaborate canopy and the west window has remains of 15th century glass (Photograph: Patrick Comerford, 2025)

The west doorway has an elaborate canopy, supported by two richly panelled cones of fan vaulting. The west window has remains of 15th century glass. At the top corners of the tower are winged figures identical to those on the north porch.

The tower has a ring of six bells that are regularly rung. The bellringers’ gallery was built as a memorial to the dead of World War II. On the south wall of the gallery hangs the old south door with musket-ball holes made by Roundhead troops in 1642.

The Uthwatt family commissioned Edward Swinfen Harris to rebuild the Old Rectory (1878-1879) beside Saint Edmund’s Church. A major, but sympathetic, restoration of the church was undertaken in 1882-1887. At the time, the Rector of Maids Moreton was the Revd Bolton Waller Johnstone (1823-1903). His parents, the Revd John Beresford Johnstone and Elizabeth Waller of Castletown Park, Co Limerick, were married in Saint Mary’s Cathedral, Limerick, and he was born in Kilkenny and educated at Trinity College Dublin.

Inside Saint Edmund’s Church, Maids Moreton, looking towards the west end from the chancel (Photograph: Patrick Comerford, 2025)

The church was reordered in 2015 when the chancel was cleared of accumulated furnishings and a level oak floor and a kitchen and toilet were added under the bellringers’ gallery.

The North Buckingham Parish is in the Diocese of Oxford and includes the villages of Akeley, Leckhampstead, Lillingstone Dayrell, Lillingstone Lovell and Maids Moreton and their churches, as well as part of the town of Buckingham.

The Revd Hans Taling is the Rector and the Revd Cathy Pearce is the Associate Priest.

The windows, with their tracery of vertical mullions and horizontal transoms, are the most obvious feature in the Perpendicular style (Photograph: Patrick Comerford, 2025)

• The Sunday services in Saint Edmund’s Church, Maids Moreton, at at 10:30, with Holy Communion on the second and fourth Sundays. Tn addition there are services at 8 am on the first and third Sundays and at 6 pm on the fourth Sunday.

The east end and chancel window of Saint Edmund’s Church, Maids Moreton (Photograph: Patrick Comerford, 2025)

08 November 2025

Searching for the Old Rectory by
Swinfen Harris among the old
thatched houses in Maids Moreton

The Old Rectory in Maids Moreton, on the edges of Buckingham, was rebuilt by Edward Swinfen Harris in 1878-1879 (Photograph: Patrick Comerford, 2025)

Patrick Comerford

As I continue my ‘field trips’ in search of buildings in this area designed by the Stony Stratford architect Edward Swinfen Harris (1841-1924), I visited the small village of Maids Moreton earlier this week.

In recent weeks, these ‘field trips’ have taken me to Roade in Northamptonshire, where Swinfen Harris designed Tylecote House (1894) for a local GP, Dr O’Ryan; Addington, outside Winslow, where he designed the Old School House (1876); and Buckingham, where the U3A (University of the Third Age) Architecture Group invited me to speak in Buckingham Library about his life and work (11 September 2025).

In Maids Moreton, the Uthwatt family commissioned Swinfen Harris to rebuild the Old Rectory (1878-1879) beside Saint Edmund’s Church, the oldest building in the village.

Corner Cottage on Duck Lane … the right-hand half is timber-framed with whitewashed plaster and brick infill and a whitewashed stone plinth, the left-hand half is of brick with rubble stone (Photograph: Patrick Comerford, 2025)

Maids Moreton is about a mile (1.6 km) north-east of Buckingham, on top of a plateau overlooking Buckingham, at the north end of the Vale of Aylesbury. The historic core of the village is concentrated along three principal streets: Duck Lake and Towcester Road to the north-west, Church Street to the south-east and Main Street, which runs between these two from north-west to south-east, and around Saint Edmund’s Church on Church Street, a short distance south-west of Main Street.

Modern development has made a significant impact on the setting of the village, with the growth of modern housing estates such as Manor Park, Hall Close, Church Close and Glebe Close along Main Street and Church Street. Yet, despite the expansion of Buckingham reaching the edges of the village, Maids Moreton retains its independence and a strong, separate identity.

As I strolled around Maids Moreton, I found a high concentrations of old historic buildings at the north-west and south-east ends of Main Street, with clusters of old buildings also along Duck Lake, around the junction of Duck Lake, Towcester Road and Main Street and close to Saint Edmund’s Church at the south-east end of the village.

Maids Moreton has many 17th century houses and cottages with timber frames, brick or plaster filling and thatched roofs. The Old Rectory and Maids Moreton Hall close to the church are two large 19th century buildings that are widely spaced set within substantial grounds, dating from an important period of change in the village.

The Wheatsheaf, a 17th century timber-frame public house on Main Street (Photograph: Patrick Comerford, 2025)

Archaeological evidence suggests the area around Maids Moreton was settled from at least the Iron Age. Maids Moreton itself probably began as an Anglo-Saxon settlement on the south slopes of the valley of the River Great Ouse, where the land was rich and fertile and the river provided good access to water and to transport.

The historic core of the village is found around Saint Edmund’s Church, probably the oldest part of the village and dating from the Anglo-Saxon period. The village may have assumed its current form through the coalescence of farmsteads and manors over the course of time and the gradual development of buildings along the tracks and roads interconnecting them.

At the Domesday survey in 1086, Maids Moreton is listed as ‘Mortone’. The name may mean the ‘farm on the mor or swampy ground.’ The origins of the prefix Maids is said to date back to the 15th century, and local lore says two maiden sisters of the Pever, Poevre, Poever or Peyvre family who are said to have rebuilt Saint Edmund’s Church.

The sisters are said to have been conjoined twins and that when one sister died, the other died also. Whether they are legendary or historical, the sisters are recalled in the name of Maids Morton, in a poem by the Revd J Tarver of Filgrave, and in a wall painted epitaph above the north door and brasses in Saint Edmund’s Church. But more about them in a posting next Tuesday (11 November 2025).

Holly Tree Cottage on Main Street, once the old off-licence, dates from the 17th century (Photograph: Patrick Comerford, 2025)

There were several early manors within Maids Moreton. After the Norman Conquest, a manor at the south end of the village remained in the possession of an Englishman named Leofwin of Nuneham Courtney.

Maids Moreton became part of a royal hunting forest of Whittlewood, but was it was disafforested sometime before 1286. The earlier manor had fallen into disrepair by the 1290s and a new house was built in the 1300s, possibly on the site now occupied by Maids Moreton Hall. The manor became known as Greenham’s Manor, after the family that held it during the reign of Henry IV. It was held by the Crown for a time before it was granted to All Souls College, Oxford, in 1442. The home farm of this manor is confusingly called the Old Manor, and was once known as the Manor Farmhouse.

A manor along Main Street on the site of the Manor Park estate passed from the Clare family and the Stafford family who were Dukes of Buckingham to Christ Church College, Oxford. The Scott family farmed it for several generations.

Woodbine Cottage on Main Street, a 17th century house with a timber frame, whitewashed brick infill, a half-hipped thatch roof and an off-centre brick stack (Photograph: Patrick Comerford, 2025)

The earliest domestic buildings date from the 16th and 17th centuries. However, earlier fabric is often hidden behind later facades as for example at Yew Trees where a cruck-built core probably dating from the 15th or 16th century was recently found within a building that had previously been dated to the 17th century.

Timber was the main material used in the construction of buildings in Maids Moreton up to the18th century. Although there are examples where timber framing is hidden beneath render or later re-fronting of buildings, in the majority of cases the timber frame is visible.

The majority of surviving timber-dframe buildings were built in a simple box frame although there is also an example of a surviving cruck frame at Yewtrees on Duck Lake, although the cruck frame at Yewtrees is disguised beneath render and hidden from external view. The majority of the panels between the timber elements have been infilled with brick. Brick became a relatively common building material in Maids Morerton from the late 18th and 19th centuries. It was used in older timber framed buildings as an infill for the panels between the timber elements and was also used to refront or extend earlier buildings.

Maids Moreton Hall, built by the Burrows family in the 19th century, is now a care home (Photograph: Patrick Comerford, 2025)

Because Maids Moreton was so close to Buckingham, it became an attractive place to live in from the mid-19th century. A number of larger properties were built for more affluent families, including the Elms, now the Red House, on Main Street and Maids Moreton House, now Vitalograph.

Maids Moreton Hall was built by the Burrows family in the 19th century on the site of former manor. It is a large brick building with stone dressing, a complex roof form and prominent decorative chimneys. There are mullion and transom windows and some dormers.

The house became the centre of Buckinghamshire lace industry in the late 19th century under Miss MEB Burrows.

The Uthwatt family commissioned Edward Swinfen Harris to redesign and rebuild the Old Rectory in 1878-1879 (Photograph: Patrick Comerford, 2025)

The Uthwatt family became prominent in the village in the 19th century. They commissioned Edward Swinfen Harris, who lived and worked in Stony Stratford, to redesign and rebuild the Old Rectory. At the time the Rector of Maids Moreton was the Revd Bolton Waller Johnstone (1823-1903). His parents, the Revd John Beresford Johnstone and Elizabeth Waller of Castletown Park, Co Limerick, were married in Saint Mary’s Cathedral, Limerick, and he was born in Kilkenny and educated at Trinity College Dublin.

The 2½-storey Old Rectory is built in brick, with a steeply-pitched tiled roof, a prominent chimney, and irregular fenestration with stone dressings. A stringcourse runs between the ground and first floor and on the gable end between each storey. On the gable, the stringcourse forms an arch above each window opening at the first floor level and a staggered effect below the window between the ground and first floor. This decorative effect enlivens the elevations and creates interest in the form of shadows and texture.

Due to its scale and its location close to the church, the Old Rectory is a visually prominent building that makes a strong architectural statement and a positive contribution to the character and appearance of the village.

Swinfen Harris also designed the Uthwatt’s new house, named Southfields, and he may also have designed Foscote Lodge and Foscote Rectory nearby.

The Old Rectory is a visually prominent building in Maids Moreton that makes a strong architectural statement and a positive contribution to the character and appearance of the village (Photograph: Patrick Comerford, 2025)

The expansion of Maids Moreton in the 20th century began when the sale of the Uthwatt’s family manor in 1928 released land for development in the village.

Maids Moreton Hall was a private residence until the time of World War II, when it became the Buckinghamshire county branch of the National Heart Hospital. Extensions were added in the 1960s, and it has been in use as an old persons home to the present day.

The village experienced a major period of growth in the 1960s when Manor Park and the new school were built. The old post office, at the junction of Main Street with the A413, closed in the mid-1990s and is now a private house.

Maids Moreton received unwanted attention in 2019 when Ben Field was jailed for the murder of a local resident Peter Farquhar in 2015. The case was the centre of the 2023 BBC drama The Sixth Commandment.

Despite its close proximity to Buckingham, Maids Moreton was once a self-sufficient community with a church, school, public houses, bakery, forge, cobblers, post office and other commercial buildings located along Main Street. Today, there are no shops surviving in the village.

The current resident population is 1,080, according to estimates, compared with 425 in 1901 and 239 in 1801. The majority of working age residents now commute from Maids Moreton to work in Buckingham, Milton Keynes, Aylesbury or even as far away as London. Today, Maids Moreton is facing how to deal with two greenfield planning applications to build 163 and 15 houses that would increasing the size of the village size by 50%.

But more about Saint Edmund’s Church tomorrow (9 November 2025), hopefully, and about the Maids of Maids Moreton in the days to come (11 November 2025).

The Whitney Box and Whitney Box Cottage, a pair of 17th century cottages on Church Street (Photograph: Patrick Comerford, 2025)