The medieval magnificence and Ricardian riches at the church of St Michael at Stanton Harcourt
- Michael Smith
- Dec 15
- 5 min read
The church of St Michael in Stanton Harcourt, Oxfordshire is place rich in medieval features dating from the mid twelfth century onwards and includes some remarkable effigies from the fourteenth and fifteenth centuries.
St Michael's church, Stanton Harcourt and its Norman origins
Set just off the village high street and standing next door to the fifteenth century Harcourt House, the church of St Michael is one of those churches which, once visited, you never forget.
This is a place steeped in history, and one family in particular – the Harcourts. Dating from the mid twelfth century, the church has been considerably added to over the years to include later transepts, bell tower, and the remarkable Harcourt Chapel, of which more later.
On approaching from the north, it is clear from the height of the nave in relation to the windows that we are looking at a building dating from a period much earlier than might seem at first sight.
The porch is deceptive for, once within, a Norman doorway presents itself to us. As we enter, we are immediately bathed in light from the great west window but, despite this and many other later windows, it is still possible to imagine the original Norman interior.
As well as four round-headed windows which remain (two in the north wall and two in the south), corbels with Romanesque grotesques hint at how the church once looked some eight hundred years ago.
The font, originally fifteenth century, was restored in the 1830s. Given similar occurrences elsewhere, it is possible the original Norman font still lies buried somewhere within the church or its grounds.
Exceptional early chancel screen with remarkable features
As we progress towards the nave, we are greeted by a very early chancel screen dating from the thirteenth century.
As well as some fine moulding work, it features an image of a woman thought to be Queen Adeliza, wife of Henry I, and probable founder of the church.
Of additional interest is a series of rustic ‘elevation squints’ which have been cut into the screen by parishioners in the distant past. These enabled folk kneeling in prayer to see through the screen and observe the elevation of the host and other activities in the chancel.
The delicate moulded spindles to the screen, supporting a series of trefoiled openings at the top are most attractive and the work of great restraint and elegance.
Ricardian tomb chest and shrine to St Edburg
In the chancel, we see two significant monuments on the north wall: a late fourteenth century tomb from the time of Richard II and a remarkable shrine of great artistry.
The shrine, dedicated to St. Edburg, dates from ca. 1294-1317. It was removed from Bicester Priory by Sir Simon Harcourt during the Dissolution of the monasteries under Henry VIII.
The Shrine is notable for its finely decorated Purbeck marble canopy featuring shields and heads and for its frieze of small statues on its base, one of which seems to resemble a wodwose.
Next to it is a monument set into a recessed arch within the wall and which is thought to be Maud Grey (died ca. Jan, 1394), daughter of John Grey, KG and Avice Marmion.
The wife of Sir Thomas Harcourt, whose faded family colours of red and gold she bears, Maud bore seven children by Thomas in addition to two children with first husband, Thomas Botetourt (D. 1359).
More remarkable Ricardian relics
From the chancel, a doorway in the southern wall leads through to the Harcourt Chapel, which is thought to have been built by William Orchard, c1470.
The Chapel is not open to the public but can be seen through the wrought iron gates which protect it. Inside are floor brasses to Thomas Harcourt (d.1460) and Nicholas Atherton (d. 1454).
Against the southern wall is the tomb of Sir Robert Harcourt (d. 1471) and his wife, Margaret (Byron) (d. 1486). Made from alabaster, the effigies were painted in a nineteenth century restoration.
Of note, however, is the effigy and tomb chest of Robert’s grandson (also Sir Robert, who died ca.1509). Featuring angels, bedesmen and Tudor roses, it sits below what remains of a standard which is said to have been carried for Henry VII by Sir Robert at the battle of Bosworth (1485).
This fragile fabric banner provides an astonishingly tangible connection to the action on that day long ago when Richard III met his death. Seeing it was certainly of the most spinetingling experiences I have ever had when visiting historic buildings.
So much more to see at St Michael's
There is much more to see in the church of course; the Harcourt family itself is commemorated with a wide range of memorials extending to the twentieth century.
But there is more still. Much of the thirteenth century fabric of the church still bears considerable traces of its original paint while two of the windows in the Harcourt Chapel preserve roundels of stained glass from elsewhere in the church and which date to the thirteenth century.
On the floor of the church can be seen two monumental brasses, one to Ellen Camby (d. 1516) and another showing a man in ecclesiastical robes identified as Sir Henry Dodschone (d. 1519). More brasses are housed in the Harcourt Chapel itself (see above).
Effigies and monuments to the Harcourt family abound throughout the church, including a magnificent baroque monument to Sir Philip Harcourt (d. 1688) and his wife. It is unclear which of his wives is represented by the bust shown on the monument although the monument itself tells us Philip was married first to Anne Waller of Osterley Park (d. 1664), and then to Elizabeth Lee of Ankerwyke, Buckinghamshire (d. 1713).
The church of St Michael at Stanton Harcourt is exceptional in setting, in architecture and in content. Blessed with some truly remarkable early medieval features and wonderful monuments, it is a church well worthy of a visit.
Gallery showing features and architectural details at the church of Saint Michael, Stanton Harcourt, Oxfordshire
Further information
Historic England listing for St Michael, Stanton Harcourt, click here
For more photographs of the church in a blog called Church Explorer, click here
About the author, Michael Smith
I am a British translator, illustrator and performer of medieval literature. I am also a printmaker, with work in private collections worldwide.
My books, including a translation of Sir Gawain and the Green Knight and the Alliterative Morte Arthure, are available through all the usual outlets. My translation of The Romance of William and the Werewolf was published in 2024. All my books feature my own linocut prints as their illustrations.
To find out more about me, please click here
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Each of my blog posts, my website, illustrations and writing is the result of extensive research. If you would like to support me in my work, please do consider making a donation.
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