Since alighting from the No. 51 bus outside Campsall Cemetery, it took me only 40 minutes to have a good look at the vernacular architecture of Campsall, while photographing several listed buildings as part of my British Listed Buildings Photo Challenge.
In this time, I had obtained a good insight into the physical characteristics of the limestone quarried from the underlying Brotherton Formation, as seen in boundary walls and several houses, and the use of brick and render to compensate for its limitations as a building stone; however, I had also noted use of massive limestone from the Cadeby Formation and my first view of the Church of St. Mary Magdalene confirmed that it has been used for the ashlar in the upper stages of the tower.
Pevsner begins his entry in the Buildings of England West Riding volume with the words “A large, complex building with a fascinating history” and his lengthy description goes on to say “This is the most ambitious Norman W tower of any parish church in the Riding” and this is immediately evident when approaching the church.
He also writes that the church, which the church guide says was founded by Ilbert de Laci of Pontefract and built between 1066 and 1160, started as a cruciform church “was enlarged very soon by extensive works in ashlar masonry: W tower, N aisle soon after” and based on his observations of the tower arches in the interior, further comments that “there must have been aisles built with this tower”.
At the time, I just took a few record photos and didn’t have time to look at the details of the masonry and, although I think that the lower parts of the aisles are probably of the same date as the tower, their upper parts - especially the 2 storied west end of the south aisle – suggest that these are part of the C15 extensions mentioned in the church guide.
The limestone from the Cadeby Formation used is a distinctly yellow variety, which can also be seen in the ashlar of the Old Rectory (c.1400) on the opposite side of The Avenue. To my eye there are variations between the upper and lower parts of the aisles, with the lower part of the north aisle especially having been repaired with sand and cement in many places.
The west door has been restored at time over the years, during the restoration of 1871 to 1877 by Sir George Gilbert Scott, which the Corpus of Romanesque Sculpture of Britain and Ireland (CRSBI) describes as ‘heavy restoration’. This drew severel criticism from James Fowler in his “Note on the restoration of the west doorway of Campsall church” in the Proceedings of the Society of Antiquaries of London 8 (1879-81).
The fourth order of the arch, together with its shafts and capitals, is the only one that contains any of its original stonework but this is very weathered in places. Much of the C19 restored masonry has also deteriorated considerably, with cavernous decay in places, and has developed a dark honey coloured patina that is further emphasised by the blackening of the stonework.
The dolomitic limestone of the Cadeby Formation, particularly the typical cream coloured variety, tends to develop a greyish patina and when I have seen a honey coloured patina on churches in Doncaster it is actually where Jurassic oolitic limestone has been used to build the church, as at the Church of St. James just outside the town centre, and for the C19 restorations of the dressings of several mediaeval churches – the last time being at St. Helen’s church in Marr a week earlier.
Although I always carry a bottle of hydrochloric acid and a had lens with me, I didn’t even think of closely examining the stonework at the time but, looking at the most recent restoration which may be part of the work was being undertaken when the CRSBI undertook their survey of the church in 2005, it appears that dolomitic limestone has been used on the west door.
Looking up at the blank arcade above the west door, the limestone is quite weathered with some loss of detail, but it seems to have escaped the ‘over restoration’ that Scott and some of his contemporaries were considered to be guilty of and which prompted the formation of SPAB (The Society for the Protection of Ancient Buildings).
Repairs to the arcade seem to be confined to a skim coat of sand and cement to some of the shafts although the windows to the belfry stage, which is surmounted by a C15 parapet with pinnacles, has had some of the shafts, voussoirs and elongated imposts replaced in recent years.








































