St Michael's Church Travel Guide

St Michael's Church occupies one of Britain's most historically significant locations. The present church was built in the late 10th or early 11th century directly over the site of the Roman basilica of Verulamium, the administrative headquarters of the Roman settlement. This is almost certainly not coincidental. Saint Alban, Britain's first Christian martyr, lived within a quarter mile of this spot during the Roman occupation. During the Persecution of Diocletian in the 3rd century, Alban was tried for his Christian faith in the basilica that once occupied this very ground before being executed outside the town walls. The church's dedication to Michael, the warrior-angel, reflects this connection—a powerful spiritual guardian standing alongside Alban in his moment of trial. This makes St Michael's a claim to being the oldest site of continuous Christian worship in the British Isles.

The Anglo-Saxon builders who constructed the original church demonstrated remarkable resourcefulness and reverence for the past. Unable to quarry new stone easily, they salvaged millions of Roman bricks from the ruins of Verulamium scattered across the landscape. These distinctive rust-coloured bricks remain visible today in the arches of the original windows and throughout the external masonry, creating a tangible link between two great civilizations separated by centuries. The original 10th-century structure was simple in plan—a nave and chancel built in flint and brick—with windows positioned at relatively low levels. The church's survival as the most extant Anglo-Saxon building in Hertfordshire makes it an architectural treasure of national importance.

As the Middle Ages progressed and pilgrims increasingly journeyed to venerate the shrine of Saint Alban at the nearby Abbey, St Michael's underwent significant transformation. In the early 12th century, north and south aisles with lean-to roofs were added, connected to the nave by arcades of plain round-headed arches. Notably, these arcades are asymmetrical—the north arcade contains three irregularly spaced bays while the south arcade has four—a quirk that reveals the pragmatic nature of medieval construction. The addition of aisles blocked the original Saxon windows, necessitating the insertion of a clerestory with six Early English lancet windows on each side during the 13th century to flood the interior with light. By the mid-13th century, a Lady Chapel was added to the southeast, further expanding the church's capacity to accommodate pilgrims preparing for their sacred journey.

The 14th century brought Decorated Gothic embellishments. Around 1340, the chancel and north aisle were rebuilt, the chancel arch enlarged, and a magnificent ogee-headed south window installed alongside a matching tomb recess. The 15th century witnessed further modifications: two-light square-headed windows replaced three of the clerestory lancets, large windows were inserted in the south chapel and chancel, and a handsome timber roof with carved stone corbels was constructed. The octagonal font, now known to have been carved from a single piece of stone—an unusual achievement—also dates from this period. The tower, possibly added in the 13th century, was remodeled in the late 15th or early 16th century with paired bell-openings, an embattled parapet, and a polygonal stair-turret. A late Perpendicular west window of three lights completed the nave's western elevation.

At the Reformation, patronage of St Michael's passed from the Abbey to the Bacon family of nearby Gorhambury Estate. This connection brought the church into contact with one of England's greatest minds: Sir Francis Bacon, the philosopher, statesman, and scientist who died in 1626. A magnificent statue of Bacon stands at the left of the high altar, and he may be buried within the church. The pulpit and communion table, both dating from around 1600, are thought to have come from Bacon's Old Gorhambury House. These pieces exemplify Jacobean craftsmanship—the pulpit is particularly splendid, supported on dragons with stairs, book rest, wrought iron hourglass for timing sermons, and an ornate sounding board flanked by gryphons.

The church's interior preserves remarkable medieval and early modern artifacts. Among the most significant is the Doom scene, a late medieval wall painting discovered in 1808 over the chancel arch. Though much has been lost, a wooden tympanum survives showing the lower third of the cross and six souls rising from the dead, rendered in the unperspectival style that predates the Italian Renaissance. Fourteenth-century brasses commemorate the faithful, while a recently rediscovered pre-Reformation altar stone now rests beneath the east window. A small but richly coloured heraldic shield represents the only surviving ancient glass. The 19th-century stained glass, including a beautiful east window depicting the Transfiguration commissioned by the Grimston family, adds luminous colour to the interior. A royal coat of arms from Charles II's reign (1660) and two late medieval doors with carved names—possibly those of churchwardens—further document the church's continuous history.

In the late 19th century, Lord Grimthorpe, owner of nearby Batchwood Hall and a man of remarkable talents—lawyer, parliamentarian, clockmaker, and restorer of St Albans Cathedral—turned his attention to St Michael's. At his own expense, he extended the nave westwards and constructed the tower on the northwest corner, adding a clock of his own design. The church today largely reflects his vision. Eight bells in the tower, dating from the 18th, 19th, and 20th centuries, ring out across the parish. A two-manual Peter Collins organ installed in 1980 provides music for worship. The 19th-century oak pews, largely dating from George Gilbert Scott's reordering in the 1860s, incorporate early modern linenfold panelling salvaged from earlier periods. St Michael's remains a vibrant, welcoming parish church serving its community while preserving nearly eleven centuries of architectural and spiritual heritage.