An unusually shaped small church with central tower and apsidal chancel. The porch is in the place of the south transept.

Peter Kirk Collection, 1997

The tower of St Martin's dates from the Norman period and has typical twin bell openings.

Much of the church was rebuilt and restored by James Fowler of Louth in 1861.

Peter Kirk Collection

Another view of the church from the south.

Jews' Court collection, 1977

St Martin's Church viewed from the southeast.

St Martin’s is a near cruciform church of two distinct periods: the central tower is thought to be Saxon at the base and has 11th century paired belfry lights with a large central baluster on each face.

The nave, chancel and south transept were built around it in 1861, externally in Early English style, by Louth architect, James Fowler.

It is listed Grade I; see: https://historicengland.org.uk/listing/the-list/list-entry/1359965?section=official-list-entry

This view shows the decorative cresting on the ridge of the chancel roof. The nave roof is barely higher and the upstand of masonry above the south aisle has no clerestory windows.

Jean Howard, February 2024

The church stands north of its graveyard in a group of trees, many evergreens, making it difficult to stand back and get a distant view.

This photograph from the southwest shows its position in relation to the churchyard cross.

Jean Howard, February 2024

Looking up to the nave arcade on the north side of the central aisle reveals the contrasting courses of brick and stone; the biblical text in letter tiles just below wall-plate level; and the lozenge of decorated tiles within the spandrel.

Jean Howard, February 2024

The apsidal chancel has Minton tiles around the lower half of the wall and brickwork above with pointed arcading against the brick surface.

Letter tiles decorate the risers of steps and a frieze along the top of the wall at wall-plate level with biblical quotations.

The tiles are not universally admired: Henry Thorold describes them as ‘shining and polychromatic like a Turkish bath.

The window glass is of a high standard throughout the church. Sadly just prior to the visit vandals had damaged two windows which had been taken out for repair.

Jean Howard, February 2024

The arcading is of high quality material and workmanship with capitals of stiff-leaf carving.

Within the arcading are a series of white marble lozenges provided to carry the names of those of the Haigh family who are laid to rest in the crypt below the chancel.

They record deaths from 1834 to 1949.

Jean Howard, February 2024

The curved construction of the east end gives a notable pattern of roof timbers.

Jean Howard, February 2024

Standing to the south of the church is this cross. The base and the lower part of the shaft are 14th century but the upper part and head are modern, probably dating from 1861 when the church was extensively restored.

It is listed Grade II; see: https://historicengland.org.uk/listing/the-list/list-entry/1168228?section=official-list-entry

Jean Howard, February 2024

The gate piers are probably part of Fowler’s restoration of the church.

A grassy path leads straight to the south door.

Jean Howard, February 2024

A marble credence table is provided against the north wall of the sanctuary.

The high quality of the tiles, many white fleurs-de-lys on purple and gold, can also be appreciated in this view..

Jean Howard, February 2024

The font is Victorian in a simple tub shape with shallow engraving along the upper edge mimicking a 12th century design of plaited rope and blind arcading.

Jean Howard, February 2024

Looking to the west end of the nave.

The west end of the nave has a pair of lancet windows with a vesica window above in which the glass design shows the scene of St Martin dividing his cloak to help clothe a naked beggar.

Below the windows is a row of seven holes in the wall; their function seems to be largely not understood, but it has been suggested that they might be sound holes, provided to supply extra resonance to the music.

Jean Howard 3 February 2024

The arcades are thought to be original Early English, early 13th century, on the south side (here) with a row of nail-head decoration around the abacus.

The corbel for the hood mould is to Fowler’s design with naturalistic leaves.

The greenery decorating the capital is part of the remaining Christmas decorations which can be seen in other photographs.

Jean Howard 3 February 2024

The pulpit is limestone with marble colonettes and foliage decoration both below the shafts and along the top edge of the body.

Christmas greenery still trims the top.

Jean Howard, February 2024

The Minton letter tiles even make up the lower section of the reredos with the words from the eucharist ‘Do this in remembrance of me’.

In the five circles above are the symbols of the Evangelists: the angel for St Matthew; the winged lion for St Mark; the winged ox for St Luke; the eagle for St John; with the lamb and flag, the ‘Agnus Dei’ for Christ in the centre.

Jean Howard, February 2024

The Roll of Honour lists ten names from four families. There being no cross next to any of the names it must be assumed that all returned safely. The calligraphy appears most professional and it may have been printed since, at the bottom edge, it reads ‘Richardsons, Printers, Illuminators, Grimsby’.

Jean Howard 3 February 2024

Even on a dull day the Minton tiles and stained glass give a colourful display.

Jean Howard 3 February 2024

The buttressed south transept forms the south door and baffle entry against the south wall of the tower.

Both the doorway and the window above have a moulded pointed arch with angle shafts and stiff-leaf carved capitals.

Jean Howard 3 February 2024

Minton tiles form the floor through the tower and right up to the east end.

Jean Howard 3 February 2024

Looking W through tower

The round headed tower arches are plastered and entirely plain.

Jean Howard 3 February 2024

Tower viewed from SW

The upper stage of the tower has twin bell openings with a heavy baluster between on all four faces.

Jean Howard 3 February 2024

The tiled floor of the tower includes two coats of arms: one is that of the Diocese of Lincoln; this one is the arms of George Henry Haigh who funded the 1861 restoration. The same design may be seen on his hatchment in Grainsby church.

Jean Howard 3 February 2024

Within the tower is the last remaining oil lamp, probably the earlier means of illuminating the church before electricity.

Jean Howard 3 February 2024

Inside the central tower, on the south wall, is this recessed white marble tablet within an ornate arched frame of limestone with black marble shafts supporting a tympanum with the Haigh arms.

Jean Howard, February 2024