REASONS FOR DESIGNATION: All Saints' Church, Jesus Lane, Cambridge, is designated at Grade I for the following principal reasons:
- Outstanding parish church of 1863-4 designed by G F Bodley. All Saints is the first use of the Decorated style in Bodley's work, and as such is a seminal part of his oeuvre
- Very complete interior decoration including furnishings, stencilled and painted wall decoration, and stained glass designed by Bodley and others, including William Morris, C E Kempe, F R Leach and W H Hughes.
Designed by G F Bodley. Body of church and base of tower 1863-4, spire and tracery in north wall completed 1869-70.
MATERIALS: Handmade brick faced with ashlar, tiled roofs. Interior arcade of Ancaster stone.
PLAN: Nave, chancel with tower over the choir, south aisle, south-east vestry and organ chamber and north-west door.
EXTERIOR: The tower is an important Cambridge landmark and one of the tallest structures in the city. The north side to Jesus Lane is the show front. The church is wholly in an early C14 Decorated style, and is the first use by Bodley of the English Decorated, which subsequently became his preferred style.
Very large 5-light east window, the north and south walls of the chancel are blind. The design of the substantial tower is based on that of Ashbourne, Derbyshire, and has a projecting north-east stair turret with an external doorway. The tower has striking carved corbels below the embattled parapet, and gargoyles at the corners. Each face of the tower has a pair of transomed 2-light belfry windows with pierced stone panels. The north face of the tower has a 3-light window with intersecting tracery. There is a very fine, tall broach spire, added as part of the second phase of work on the church. It has five tiers of lucarnes, the lowest tier with transoms and flowing tracery in the openings. In addition, the north-east stair turret on the tower is also a small, crocketted spirelet with a gabled and traceried base that rises above the tower parapet.
The nave has a 3-light west window with intersecting tracery, and 2- and 3-light Decorated-style windows on the north side, the tracery part of the second phase of work. The north-west porch is gabled. The south aisle is shorter than the nave and has a 5-light uncusped east window, a Y-tracery west window and 2-light windows in the south wall. There are two doors on the south side, that to the vestry trefoil-headed. The lean-to south-east vestry and boiler house are in the angle between the east end of the south aisle and the chancel.
INTERIOR: The interior is quite dark and architecture is simple compared to the exterior, but it makes up for this plainness with extraordinarily rich painted decoration and good, contemporary furnishings. The tower stands over the western part of the chancel, with a small sanctuary beyond, and the tower arches, including an arch into the east bay of the south aisle, give the impression of a crossing. The tower arches and the five bay south arcade have chamfered arches on polygonal piers or responds with moulded capitals and bases. There are tall tie beam and king post roofs in both nave and south aisle. There is a flat timber roof over the choir, under the tower, which is divided into panels by moulded beams, and the sanctuary has a boarded, canted wagon roof.
HISTORY: All Saints has its origins in the Church of All Saints in the Jewry, in St John's Street. Early prints show that the tower was built on arches over the street. By the mid-C19 the medieval church was too small for the congregation, and as it stood in the way of development of that area of the city, it was decided to move it further north to Jesus Lane. The new church opened in 1864, and the old church was demolished when St John's Street was widened in 1865, although its churchyard is preserved as an open space.
After an initial desire to have Gilbert Scott as architect, George Frederick Bodley, who had been a pupil of Scott's, was chosen to design the new church. Bodley, who had set up his own practice in 1855, was to become one of the most important architects of the Gothic Revival. From 1860 a number of plans were drawn up for the church, but were rejected as being too expensive. The design was finally settled in 1862, and construction carried out in 1863-4 with a further phase of work on 1869-71 including the completion of the tower and spire and some of the north aisle glazing. The cost of the first phase was £5,408 with a further £2,036 spent on the second phase. All Saints is notable for the first introduction of Decorated-style motifs into Bodley's work, as the style became his trademark, but it has recently been noted (Hall) that the second phase of work made the building more Decorated than had been originally intended with the inclusion of flowing tracery in the windows and substitution of the very slender spire for a heavier broach spire originally proposed. Work carried out in 1904 to the decorative scheme was necessitated by damage caused by smoke from the gas lamps; the church was electrified in 1904 (chancel) and 1907 (nave). The church has been very little altered in the C20 and is one of the best preserved Anglo-Catholic interiors in England. It became redundant in 1973, and although there were proposals to demolish it a few years later, it passed to the Churches Conservation Trust in 1981.
George Frederick Bodley (14 March 1827 – 21 October 1907) was an English Gothic Revival architect. He was a pupil of Sir George Gilbert Scott, and worked in partnership with Thomas Garner for much of his career.
Bodley was articled to the architect Sir George Gilbert Scott, a relative by marriage, under whose influence he became imbued with the spirit of the Gothic revival, and he became known as the chief exponent of 14th century English Gothic, and the leading ecclesiastical architect in England. He is regarded as the leader of the resurgence of interest in English and Northern European late-medieval design. Noted for his pioneering design work in the Queen Anne revival.
Bodley became acquainted with William Morris in the late 1850s, and in the 1860s his commissions for stained glass and ecclesiastical decoration helped ensure the success of Morris's firm, Morris, Marshall, Faulkner & Co., founded in 1861. Bodley is said to have designed two of Morris's early wallpapers. By the late 1860s Bodley had become disenchanted with Morris, and for stained glass turned to the firm of Burlison and Grylls, founded in 1868, for the glass in his later churches, notably St Augustine's Church, Pendlebury, near Manchester (designed 1870) and the Church of the Holy Angels, Hoar Cross in Staffordshire (designed 1871–72). Bodley worked with his lifelong friend, the stained glass designer Charles Eamer Kempe. They collaborated on projects including: St John the Baptist, Tuebrook in Liverpool; Queens' College Chapel, Cambridge; All Saints, Danehill, East Sussex and The Church of St. Mary the Virgin, Clumber Park in Nottinghamshire. His alterations to St Stephen's Church, Gloucester Road, London, the architect and president of RIBA, Harry Stuart Goodhart-Rendel said tamed the work of its founding 'rogue' Victorian architect, Joseph Peacock.
Bodley died on 21 October 1907 at Water Eaton, Oxfordshire and is buried in the churchyard of St James' parish church, Kinnersley, Herefordshire.