St Mary the Virgin, Westmill

Welcome. As you step through the south door into the nave, you enter a place where people have gathered to worship God for over a thousand years. There is a deep sense of continuity here—of lives, prayers, and stories woven into the very fabric of the building.

Experts believe the proportions of the nave are Saxon, as are the sturdy pillars separating it from the north aisle. If you take a walk outside later, you may notice in the south-east corner the distinctive Saxon “long and short work”—a small but remarkable survival from the church’s earliest days.

The North Aisle

Looking towards the north aisle, you can see how generations of Westmill’s people have shaped and enriched their church. This space likely began as two small chapels before being joined together.

The stained-glass window to your right is a beautiful mid-Victorian memorial to Julia Beaumont (1866). The graceful arches date back to the 13th century. If you look closely at the central pillar, you’ll discover a charming detail—a medieval carving of a man in a boat, quietly scratched into the stone centuries ago.

The Nave

As you walk towards the altar, notice the memorial to the Greg family on the south wall. For over a century they were local squires, with links to the well-known manufacturing family at Quarry Bank in Cheshire. The pulpit was given in memory of the last of their line.

Above you stretches the magnificent 15th-century roof, its elegant king posts reaching high overhead. It is the highest church roof of its kind in the county, second only to St Albans Abbey. It was restored in 2013.

The south aisle window also tells a poignant story, commemorating two young men—Edward Rose and William Hoy—both lost at sea in the 19th century.

The Chancel

Turn now towards the altar. The striking window was given by a former Rector, the Reverend Henry Pepys—later Bishop of Sodor and Man—in memory of his four children, who are buried just outside the altar rails. Its theme, “Suffer the little children to come unto me,” reflects both loss and hope.

You may notice the chancel arch appears slightly uneven. This was no mistake—medieval masons often adjusted their work to align beautifully with the roof above, a subtle example of their skill.

The back choir stalls are adorned with carved “poupee” or “poppy heads.” Two are original medieval carvings, while the others are Victorian copies so finely made that it is almost impossible to tell them apart.

The communion rails date from the late 17th century. Beneath the altar platform lie 18th-century gravestones belonging to the Bellenden family, Scottish Jacobites connected to the Dukes of Argyll, who once lived nearby. Their noble status is marked by the coronet carved on their stones.

On either side of the altar stand wooden pillars topped with angels holding candles. These once formed part of a larger design by the renowned Sir Ninian Comper. Although his full design proved too large for this church. These remaining pillars now beautifully frame the sacred spaces of communion and baptism as the other two pillars topped with angels can be seen standing by the font.

The Tower

Turning west, you are greeted by a fine 15th-century arch. The west window, another Victorian addition, commemorates Robert Hyde Greg.

In the centre of the tower stands the 15th-century font, still used today for baptisms—a reminder of the church’s continuing life.

The tower also houses a medieval peal of six bells. Once there were eight but some were sold in 1834 to pay for repairs to the roof and other urgent work.

The oldest bell dates from around 1350, and one bears the inscription “Sancta Margareta ora pro nobis”—“Saint Margaret, pray for us”—hinting that the church may once have been dedicated to her.

The wooden bell frame dating from 1702 was replaced in 1999 with a cast-iron and steel frame to secure the tradition of bellringing in this church. Though the bells have seen many changes over the centuries, they still ring out today, connecting past and present with their sound.

Near the door, you will find what is believed to be the oldest gravestone in Hertfordshire, commemorating Sir Nicholas de Lewknor, Lord of Westmill, who died in 1293.

Outside the Church

As you walk around the church, take a moment to admire the west door, where two angels with flaming swords flank a pierced heart—a striking and symbolic image.

Before you go

There are many other pieces in the church to notice, including other stained-glass windows, the fine tiles depicting the gospel writers in front of the altar, and in the tower, various examples of historic graffiti.

One final window to notice is on the wall opposite the organ in the chancel. Here is a small window of Christ poised at a door not dissimilar to Holman Hunt’s painting “The Light of the World” inspired by Jesus’ words in John’s gospel, ‘I am the light of the world. Whoever follows me will never walk in darkness but will have the light of life.’ (John 8:12).

As your visit comes to an end, know that the door of this church is always open to you and you are welcome to our church services and events.

We invite you to pause for a moment—whether in prayer, reflection, or simply quiet appreciation. Hold in your thoughts this church, those who worship here, and may you go forward in peace and joy from this sacred place.