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Bolton
Percy is still seems a relatively isolated village, about four miles upriver from
the confluence of the River Wharfe with the Ouse. All Saints'
church, built of cream-coloured magnesian limestone which outcrops less
than three miles to the west, is notable for having been constructed in
a single phase, with only the porch excepted, for its date of
consecration is known to be 1424. It thus provides an interesting
illustration of the Perpendicular style in Yorkshire around the time of
the accession
of the infant Henry VI (reigned 1422-61 and 1470-71). Consisting
(apart from the porch) of a W. tower, an aisled nave and a chancel, the
architectural emphasis is placed firmly on the last, which is
embattled and taller than the nave, which also has a plain parapet by
way of further contrast. The three-light N. and S. windows have
supermullioned tracery and hood-moulds terminating in large worn label stops. The
five-light E. window (illustrated right)
has outer lights subarcuated in pairs and a central light with three tiers of reticulation units
in the head and a quatrefoil in the eyelet.
The much more modest aisle windows are three-light but untraceried. The
tower rises to battlements and tall crocketed pinnacles at the angles,
undivided by string courses except for one immediately below the
bell-stage. The bell-openings are three-light and square-headed; the W. window copies the aisle windows.
The
interior of the church is probably more striking than the exterior.
The nave arcades are constructed in four bays, of double-flat-chamfered
arches supported on octagonal piers, with the chamfers dying into
broaches above the capitals. However the E. responds break this
design and match the form of the chancel arch instead, which carries
two, more widely spaced chamfers above two orders of
semicircular shafts separated by hollows. The sedilia recessed in
the chancel S. wall (illustrated left)
is formed of three equal bays with double-cusped arches beneath
crocketed ogee gables, each enclosing a little lierne vault. The tower
arch copies the style of the nave arcades.
The church contains some excellent carpentry, including
two pulpits, one on each side of the nave, of which that to the north
now serves as a reader's desk. This is probably Jacobean whereas
its larger replacement to the south, with huge tester above, appears to
have been constructed about a century later. Yet more important
than either of these is the exceptionally complete set of seventeenth
century box pews that entirely fill the nave and aisles, from east to
west and north to south: simply but attractively designed, they are
distinguished principally by the knobs on the ends, creating a very
unusual and distinct impression. The contemporary font cover (right) is also a
fine piece, which can be raised by a pulley attached to the nave roof: it has
openwork tracery and is octagonal in shape, though it sits on a plain
round bowl below.
Finally it remains to mention a couple of wall monuments,
including one by John Bacon the Younger
(1777-1859). Situated on the N. side of the chancel, it
commemorates the wife of William Mordaunt Miller (d. 1805) and depicts
her, carved prettily in shallow relief with her children, in a roundel
beneath an urn. A long inscription laments her loss yet curiously
fails to give her name. Opposite, on the S. wall, an older monument to Marion Fairfax (d. 1649) is
surrounded by the usual sixteenth century symbols of mortality.
Doubtless this was no less lovingly meant but the tastes of this period
are conspicuously further from us.