| 词条 | Draft:Eyam Parish Church |
| 释义 |
{{dablinks|date=April 2019}}{{Infobox church The Rector writes “Welcome to this community of love, enjoy the hospitality of the living God, meet here his Son Jesus Christ, receive the touch of his Holy Spirit, and renew your walk with him in this house of prayer.” Eyam Parish Church is a lively active evangelical Church of England worshipping community where God is active today. It is a church of all ages looking to serve the God of the Bible in the village of Eyam, in Derbyshire’s beautiful Peak District with over 100 people meeting regularly at 11am each Sunday. There is a strong commitment to families and youth work with Messy Church, Cafe Church, Mothers & Toddlers Group, Growth Groups, Friday Lunches, Coffee meetings, Prayer groups, Women’s group, Holiday at Home, a full young people’s programme (Impact, GIG, Engage, KicKstart, CYFA, Transform Youth, Deeper), etc. There is an annual plague commemoration service and we welcome thousands of visitors and school children to hear the plague story, see the plague window, Mompesson’s chair and pulpit, the plague register and the wall murals which are of European significance. There are more interesting items in the churchyard; Catherine Mompesson’s table tomb, the 8th century cross, the sundial, the cricketer’s grave, the war memorial, etc. Christian worship has taken place in Eyam for over 1000 years! The first recorded Rector began his ministry in 1250 and the Church dates from Saxon times. St Lawrence, Eyam has huge amounts of history and played a key role in the 1665-66 plague when the villagers quarantined themselves to prevent the spread of the disease. The Rector states “Eyam Church is a place of Blessing where together we become more like Jesus and share more of Jesus with others. As we travel together we learn to live as Christ taught, we encourage one another in prayer and Word, and in faith, hope and love. The vision... • ...is to be a Church characterised by fellowship, experienced in many ways and particularly in accessible small groups. • To have a broad and accountable leadership which listens well and ensures good communication. • Our purpose is through prayer, worship and Bible study, to grow evangelising disciples who, enabled by the Holy Spirit, exercise their gifts. • We will celebrate our young people as integral members of the body of Christ. • We will strive by God's grace to be a light in our local community.” The church stands near the centre of the village on the main street. Web Site: http://www.eyam-church.org The current congregation are very keen to reorder the church particularly to make it all inclusive and accessible to all who have physical impairment, hearing, sight, learning or other disabilities and those with dementia. Heating and draught control need improvement as well as lighting, loose floor tiles and collapsing pews installed in the 1860s. HistoryHow long a Church has existed in Eyam is uncertain. There is no mention either of Church or of a Priest in the Domesday Book (1066). But, there is abundant documentary evidence to show that Ralph de Cubley was Rector of Eyam in the year 1250, and consequently there must have been a Church here before that date. And, indeed, the old Norman Font, which stands near the entrance to the Church, takes us back another hundred years. Therefore, we may assume that the first Church in Eyam was built about the year 1150. The earliest Church would be in the Norman style of Architecture, and the font which belonged to that Church is the one which is still in use. Some two hundred years later, this Norman Church was replaced by a building in the decorated style; and it is out of this decorated building that the present Church has grown. It consists of a chancel, a clerestoried nave (i.e. nave with windows above the arches) of three bays, north and south aisles, south porch, and an embattled western tower, with crocketted pinnacles at the angles, which now contains six bells and a clock. In the nave are seven pointed arches, three on the north side, three on the south side, and one on the west end, supported by plain, octagonal, and clustered pillars which once adorned the interior of the church but two only are now visible with the remaining presumably destroyed in previous reordering. The arcades of the nave are of the decorated style of architecture and the north clerestory windows are of the perpendicular style with the corresponding ones on the opposite, side of the Church, which were of a very debased character, were made to harmonise with these at one of the recent restorations. The chancel is open to the body of the church through an arch. There was a south side gallery and one of rather older date at the western extremity [4]. The south wall, made of limestone, is the oldest part of the chancel and dates from the early 17th century. Dr Askey’s detailed research [5] shows comprehensive changes on the north side of the chancel with the area now occupied by the choir vestry and the organ once being used as children’s seating. Here there had also been a staircase giving access to one of the galleries. The east wall was rebuilt and the present three lancets inserted after the removal of the existing round arched window. In the early years of Shorland Adams ministry (c1630) an order was issued by William Laud, the Archbishop of Canterbury, to those conducting the Visitation in the years 1633 to 1635 that "The Church wardens in every Parish were enjoined to remove the Communion Table from the middle, to the east end of the chancel, the ground being raised for that purpose, and to fence it with decent rails that it might not be profaned." This probably explains why it is no longer possible for anyone standing in the south aisle to view the altar through the squint. Adams and his wardens must have been obedient, for it is only possible to see anyone unless he is standing several feet in front of the present altar. There are many memorials in the chancel and a piscina to the south of the high altar. Although the Church is now interesting but it does not resemble the building in which Mompesson and the villagers worshipped God before Eyam was depopulated by the plague in the middle of the seventeenth century. Probably the oldest portions of the fabric, although heavily restored, are the pillars and arches of the nave with the walling above. Parts of these maybe about 550 years old. The chancel and a great part of tower were rebuilt in 1618, and the chancel has been restored since. The present building is of many periods dating from about 1350 to 1882. Almost every part of the building is comparatively modern; the north part is of the reign of Henry II; the south, or front part, of Elizabeth I; the chancel was erected about the year 1600; and the tower was rebuilt about the same time. There is only one good window in the whole structure - it is at the west end of the north aisle, evidently of the fourteenth century. A few specimens of painted glass adorn the antique window. It was a very small church before the addition of the chancel, which was erected by the Rev Robert Talbot, Rector of Eyam. The old tower, which was small, was taken down and the present one built by a Madam Stafford, a maiden lady, one of the co-heiresses of Humphrey Stafford, Eyam. The grotesque figures projecting from the top part of the tower, belonged to the old tower; and from their defaced and dilapidated appearance, as compared with those on the Saxon churches of Hope and Tankersley, they must certainly have been ornaments of a church long before the Norman Conquest. The tower is square, nearly sixty feet high, surmounted with small embattlements and four ornamented pinnacles, about five feet high. Four rich and deep toned bells originally occupied the top part of the tower although there are six now. The original four bells, which are said to have been given by Madam Stafford, are of a material rich in silver. Apart from the original pillars many features and objects which are also lost are the remains of the Confessional, on the top of the roof of the chancel and carved in wood a talbot or dog which was a supporter of the arms of the Earls of Shrewsbury who were Lords of the Manor of Eyam and patrons of the living, the manorial seat and pew. Also two of the mural emblems of the twelve tribes of Israel were destroyed at the installation of the new chancel arch, one stone laid flat in the chancel, simply inscribed with T. B., the initials of Thomas Birds, Esq., Eyam, of antiquarian notoriety: he died May 25th, 1828, the national arms, a full length figure of Aaron and Moses, painted in oil in the reign of Queen Anne, a table of benefactions, the Lord's prayer and belief, which were erected in the 1800 [6], the galleries, an older organ, the side chapel. In the choir vestry were the old paintings of Moses and Aaron, which used to hang in the ringing chamber, and which have been replaced by the window at the west end of the church in which the same subjects are depicted. Pictures of Moses and Aaron were very usual in churches during the 17th and 18th centuries, when they were placed on either side of the tables of the ten commandments. Also lost are the fragments of carving above the south wall of the chancel which were the bosses from the centre of the old roof. Before the last reordering in the 1860s there is a description “A poor church, mutilated and ill-cared for the interior is sadly disfigured by hideous pews and galleries - there is one gallery with an organ across the chancel arch”. (Sir Steven Glyn). The church register shows that in olden days a ‘Dog Whipper’ was employed presumably to keep dogs out of church. Non-conformity appeared quite early in Eyam and there were Conventicle meetings (a conventicle is a small, unofficial and unofficiated religious meeting of laypeople. Banned by Act of the Parliament in 1664). Eyam was visited by John Wesley on Maundy Thursday, 27th March 1768 and a Methodist Chapel was built 1787. Last Reordering 1860s.Although the church was in very poor condition it has been said that “the restorations of 1865 and 1882 have played sad and unnecessary havoc with its history”. The church is medieval with elements from the 13th and 15th centuries. It was partially rebuilt in 1619. The church was restored in 1868–70 by George Edmund Street[7] with the work started by Malland and Son of Bamford at a cost of £1337 ({{Inflation|UK|1337|1870|r=0|fmt=eq|cursign=£}}){{Inflation-fn|UK}} for rebuilding the chancel and installing a new window. However, the work was much more involved than first estimated, as the chancel work uncovered the poor condition of the rest of the church and an additional £1,200 ({{Inflation|UK|1200|1870|r=0|fmt=eq|cursign=£}}){{Inflation-fn|UK}} was needed. The contractor was changed to Dennett and Co of Nottingham, and the north aisle was rebuilt with five windows, and an additional aisle was added to the north side of the chancel. The galleries were removed, and the roof was re-leaded. The south aisle and porch were rebuilt between 1882 and 1883 by Walker of Sheffield with the contractor being Hibbert of Baslow.[8] The old Norman Font, which is near to the first pillar on entering the Church, goes back to about 1150, and is in all probability the font which stood in the original Norman Church of that time, and in which succeeding generations of Eyam children have been baptised during considerably more than seven centuries. The Pulpit is supposed to have been the one which was in use at the time of the plague and from which Mompesson must have often preached. It is a Jacobean pulpit and prior to the 1868 restoration it stood on the north side of the nave and it was probably in that position in Mompesson’s day, when of course it would have been relatively new and there is an elaborate Victorian brass candlestick to light the preacher’s notes. The brass plate, affixed to the Chair in the Sanctuary, assumes that it once belonged to Mompesson, the rector, whose courage and devotion to his people during that sad time have immortalised him in the history of Eyam. The chair was, we believe, discovered by a relative of Rev E. Hacking, a former rector, in the shop of a dealer in Antiquities, and he presented it to the Church. On it is carved the inscription “MOM. 1665 EYUM” The Oak Cupboard: In the north west corner is now thought to be 18th century in origin, it is traditionally believed to have been made from the box which brought the infected cloth to the village from London in the late summer of 1665 and which started the plague. Scholars who have studied the transport of the 17th century tell us that there were few roads in Derbyshire at this time and that most goods were transported in panniers by pack horses. Eyam was certainly on a packhorse route. Such tracks as these, and the hilly terrain around Eyam would have made it difficult to transport a stout oaken box in this manner. When looking closely at the right-hand door of the cupboard some interesting geometric patterns are just visible. A series of intersecting circles have been inscribed into the woodwork to form three separate designs. The intersecting circles in one of the designs form a central “daisy wheel” or “hexafoil”. These are terms used to describe a circular design with six internal arcs, forming the six “petals”. It is a motif regularly found incised into the timber, stone and plaster of our older churches, homes and agricultural buildings. Indeed, there are examples in a number of other local churches such as Bakewell, Hope and Castleton{{dn|date=April 2019}} and also at Haddon Hall. These are known as “ritual protection marks” and are currently thought to have been made as wards against evil. There is also a flame shaped burn mark to the edge of the left hand door easily dismissed as being caused by an accident with a candle or rush-light but there is growing evidence to suggest that this type of burn was made deliberately and may have been thought to offer some form of “protection” in a similar way as the scribed symbols. It is easy to imagine that even decades after the devastating plague in Eyam, the fear of a disease with an unknown cause would still be very strong. This fear could well have provided the motivation for inscribing “protective symbols” on a piece of furniture said to have a connection to the plague. The Parish Register is a facsimile edition of the earliest Parish Register and is normally open at the page recording the first plague deaths in September 1665, which is highlighted on the right hand page by a pointing hand. On the left hand page is the record of the marriage in March of 1665 of Alexander Hadfield to the widow Mary Cooper, in whose house the plague claimed its first victim. The Saxon (second) Font: At the east end of the north aisle there is a large stone font. It has not always had a place in the church; but it is said to have been found on the Moors, somewhere in the direction of Padley and Grindleford, and to have been brought to Eyam. The various tales about it, such as that it was formerly in Padley Chapel, or that it was the font used for the baptism of children who were born during the plague and it may have been used for this but it could not have been made for this purpose as its size and greater age show this are mere conjecture. For many years the bowl served as a flower pot at Brookfield House, Hathersage. It was placed in the Church whilst Mr Longsdon was rector (1888-1891) and the stone base on which it stands was made for it. St Helen's{{dn|date=April 2019}} Cross: At the east end of the north wall, underneath the fourth window, near the organ, inserted in the wall, will be found an ornate 13th century coffin slab remnant stone perhaps 750 years old. It is commonly called St Helen's Cross and originally stood at the east end of the Church. The Cross had probably nothing to do with St Helen, beyond having once covered a tomb in the portion of the church which was dedicated to that Saint. It was moved to its present position at the restoration of 1866-8. Piscina: There were several altars in the church in previous times; The Piscina, or drain, down which the water was poured, after the sacred vessels which had been used at the Holy Communion had been cleansed, may be seen on the south side of the north aisle, close to the pillar which supports the chancel arch and this shows that an altar once stood here. The brass Lectern, which Dr Askey informed us was made by Hartson Peard and Company in 1868 for the restored church. The huge spread wings, which gave support for the great Bible, not only symbolise the spreading of the word but also would be a reminder of the ancient popular belief that the eagle was as everlasting as the Word of God. It was said that in its old age the eagle flew upwards towards the sun until its wings were singed, whereupon it returned to the earth rejuvenated. The Bracket (on which the figure of a saint perhaps stood in former days) is fixed into the east wall of the south aisle. Now there is a small statue of the Virgin and Child which was a gift to the church in 1964 by the Rev Christopher Ryder, then Vicar of Stirchley, Birmingham, to mark a happy boyhood in the village. The statue is reputed to belong to the 12th or 13th centuries and once stood in a Swiss Alpine church which has long disappeared. The Plague Register (a record of plague deaths). At the east end of the south aisle is a large glass case in which there is a beautiful, illustrated manuscript recording the names of all the people who died in the plague period. It was prepared by Mr Fred Stansfield in 1951 as part of the Festival of Britain celebrations. It is a little dated now because subsequent researchers have been given access to the government Tax Assessments for 1664 which name 160 householders in the village which yields a population of approximately 800 people. The names of over 400 survivors have been traced in the post plague records. The Squint, or opening in the wall through which the altar could be seen, at the east end of the south aisle, was for a long time filled up, but was re-opened on 15th May 1908. The glass shutter on the chancel side was then added to keep out the draught. It is evident that the original chancel must have been considerably shorter than the present one, to enable the altar to be seen through the Squint. The Oak Screen across the tower used to run across the chancel and as well as the part in front of the organ it formerly belonged to the family pews of the Staffords (see Robert de Stafford), as a brass tablet between the windows in the north aisle testifies:- “This tablet marks the spot sometimes called the Stafford Quire, or ancient family pews of the Staffords and afterwards of the Bradshaws of Bradshaw{{dn|date=April 2019}} and Abney, now represented by the family of Bowles, and testifies that the oak screen across the chancel and in front of the organ formed part of the same. Decr. 15, 1895”. Until 1603, the Stafford family maintained the lamp of St Helen in the church, a tradition they upheld throughout much of their 350-year association with Eyam. The pieces of dark wood inserted in the backs of four pews are also fragments of the old screen. The stained glass windows contain some good modern glass: • In the south aisle, to the left of the porch is a window to the memory of Charles Gregory, who died in 1877. The subjects depicted are scenes from the life of St Helen. • The next window to the east was a thank offering made by one who had recovered from a serious illness in 1899. (Mr William Crampton). In the centre is the Madonna, (the Blessed Virgin, with the infant Saviour in her arms). On the one side of this is St Matthew; on the other St Laurence with his hand resting on a gridiron, the instrument of his martyrdom. • The window at the east end of this south aisle is a memorial to the Rev EA Bagshawe, who was Rector of Eyam, 1826 to 1862. The central figure is that of our Lord as the Good Shepherd. In the outer lights are the Evangelists, St Luke and St John. • There are two small windows on the south side of the chancel. One has the subject of “Ezra the scribe”, to the memory of Mrs Ann Green; and the other depicts “Nehemiah, the builder”, a memorial to her husband, the Rev John Green, who was rector from 1862 to 1884 and during whose incumbency the Church was restored. For these reasons, because he had been rector of the parish and restorer of the church, these subjects “the scribe”, (the teacher of the law of God), and “the builder”, (the restorer of the temple), have been appropriately chosen. It is of interest that the likeness of the Rev John Green is to be seen in the face of Nehemiah. • To the east the next window, on the south side of the sanctuary, is King David, the sweet Psalmist of Israel. It commemorates (and David's face is the likeness of), Thomas Wilson Froggatt, who for many years was voluntary organist at the Church. It was placed here by the members of the Eyam Glee and Madrigal Society and other friends. • The window, at the east end of the chancel, from the studio of Messrs Clayton and Bell, was inserted by Charles Gregory of Hampstead, in memory of Dorothy Gregory, his wife (1799-1861). It gives the last scenes in the earthly life of Our Lord:- the Agony in the Garden, the Judgement of Pilate, Christ bearing His cross, the Crucifixion, the Entombment, the Resurrection, and the Ascension. • The window near to the organ is in memory of William Crampton. The centre light represents St Anne, the mother of the Blessed Virgin Mary, with the Virgin as a child. In the other lights are St Michael the Archangel and St Stephen the first martyr after the Ascension. • To the right of the cupboard in the north west corner is the window donated in 1985 by the late Mrs Creswick in memory of her husband. Designed by Alfred Fisher, a well-known artist in stained glass, it depicts some of the incidents of the plague. It is rightly considered a very fine example of modern stained glass, all the more interesting because unlike so much modern work it tells a story and is not in the contemporary abstract form frequently seen in today’s new windows. • The subject of the westernmost window in the north wall is “Christ blessing little children”. It is a memorial to George Gregory, of London, who died in 1910, and left by will £1000 to the poor of Eyam. • The window in the ringing chamber is a memorial to Thomas and Sarah Gregory. On it are depicted the figures of Moses and Aaron, which replaced the oil paintings of the time of Queen Anne. • To the south side of the tower is a window to the memory of Thomas Gregory, of Eyam View, who died in 1907. The subject is “The Last Judgment”. The central figure represents Christ sitting in judgment on the earth. On the right hand is the Blessed Virgin Mary, and on the left St John the Baptist. Below, in the centre is the angel with the balances. On the right an angel welcomes the blessed into the kingdom of God, whilst on the left another angel apparently bids the lost “Depart”, etc. • The remaining window to the west of the south porch represents “Ruth the gleaner” and is in memory of Henrietta Anderson Green, wife of the Rev Herbert WH Green. There are many stone and brass mural tablets around the church. Murals of the twelve tribes of Israel: Other treasures include the late 16th and early 17th-century murals which originally depicted the emblems of the twelve tribes of Israel. The artwork was lost as before the Reformation, churches were frequently very colourful and works of art were used to decorate them, partly as a means of beautifying God's house with the best that the congregation could provide and at the same time to instruct the worshippers through pictures, as very few of them would be able to read, and to help their understanding of the Bible. The practice was condemned as idolatrous by the very devout, but plain thinking Puritans who saw them as a distraction from true worship and they covered over. Some of the paintings were rediscovered in 1868, when the Chancel Arch was rebuilt The artwork that was on it underneath the plaster was of course destroyed, but some of the work on the adjoining walls was not harmed and was covered over again until the early 1960s. Then all the covering plaster was removed from the whole of the upper surface of the nave walls, to reveal the full extent of the scheme and work was undertaken to conserve what remained by Eve Baker. The emblems of Asher and Naphtali on the north wall of the nave have been restored. The painting of a skeleton on the belfry arch may represent Saint Lawrence, so suggested by the iron grid upon which, by tradition, Lawrence was martyred by the Romans. However, since the church was formerly dedicated to Saint Helen, the figure may simply represent Death. Notes • St Helen was the mother of Constantine the Great. Her popularity in this country is due to the (late, but unauthentic) tradition that she was the daughter of a British King, Coel, (the “old King Cole”, of the nursery rhyme), and that her son Constantine was born in Britain. She was born about the year AD 248, and in her old age visited Jerusalem. There she is reported, whilst digging on Mt Calvary, to have found the true cross on which Our Lord had been crucified. This was in AD 346. St Helen's Day is 18th August. Holy Cross Day is 3rd May. • St Lawrence, a Deacon, suffered martyrdom at Rome, during the persecution of Valerian, by being roasted to death on a gridiron, AD 258. He was ordered, upon his arrest, to produce the treasures of the Church which were in his charge. Going into the poorest courts of the city, he gathered together the poor, the halt (lame) and the blind. “These”, said he, “are the treasures of the Church”. He is commemorated on 10th August. • See the tenure of lands “by the burning of the lamp”, figures in one of Wood's “Tales and Traditions of the Peak”. Churchyard (a few things of note are mentioned but there are many more) Sundial: Tradition maintains that this was designed by Mr Duffin, Clerk to Mr Simpson of Stoke Hall{{dn|date=April 2019}} and was executed by William Shore, a local stone mason, in 1775. It is more likely, however, that the Sundial was made by John Whitehurst FRS at the request of the Rector, Canon Seward, a friend of Whitehurst's friend Erasmus Darwin who was a neighbour of Sewards in the Close at Lichfield where the Rector of Eyam was also a Residentiary Canon. Before the restorations of 1868 and 1882 it was situated above the south door of the Church, but when the south aisle was widened and the porch built, it was placed above the Priest's door into the chancel and was cleaned in the 1970s. The old Saxon Cross, is not in its original position as it was erected somewhere in the neighbourhood, and by it would stand itinerant missionaries as they proclaimed the message of Christianity to those who were gathered round them in the open air. It is now opposite the chancel door, and very near the tomb of Mrs Catherine Mompesson. It is about eight feet high, although about a foot of the shaft is broken and lost. A variety of figures and designs are embossed thereon, with many singular symbolical devices. What are said to be Runic and Scandinavian knots, liberally adorn its sides and perhaps no cross in England, is more richly embellished. It would be difficult, amongst so many conflicting opinions on the subject, to say anything correct respecting the origin of crosses. Some give them are Danish and some of Saxon origin and most probably they are no older than the time of the Crusades. Rhodes, in the Peak Scenery, states that “the top part of this cross lay in the church-yard, covered with docks and thistles, when Howard, the philanthropist, was at Eyam and that he caused it to be placed on the dilapidated shaft. This is a mistake. The top part may have been some time from its proper place, but it was before Howard's time. This venerable relic of antiquity was, a few years since, raised up and placed upon a kind of pedestal for its better preservation and appearance.” Against the Chancel wall is a modern upright stone which commemorates the virtues of another hero of the plague times, Thomas Stanley, the Puritan Rector of the years of the Commonwealth, who remained in Eyam, supported by the gifts of his old friends, and who aided Mompesson in his ministry of mercy to the souls and the bodies of his flock during these terrible months. Old Sepulchral Slabs: Against the same wall, on the opposite side of the chancel door, to the left, are two ancient Stone Slabs, which are probably some 750 years old. They were found in 1882, at the head of a window in the old South aisle, and in the following year they were repaired and fixed in their present position. They, apparently, originally marked the resting place of some warrior; and, centuries afterwards, at some restoration or enlargement of the Church, were utilised by the masons. According to the custom of those early days, when they were used as memorials, no name was inscribed upon them, merely the symbol of the faith of those whose bodies lay beneath them, and the sign of their profession. “The Dagger and the Cross”, which they bear, are said to have suggested the title for Hatton's book. On the West side of the tower is a stone which has puzzled many people. It bears the date 1612, and a number of initials, amongst which, as the letters C.W. testify, are the initials of the churchwardens. Catherine Mompesson’s tomb: The inscription on the top of the tomb is in Latin - the following is a translation:- "Catherine, wife of William Mompesson, Rector of this church, daughter of Ralph Carr, Esq., late of Cocken, in the county of Durham. She was buried on the 25th day of August, 1666! Take heed for ye know not the hour". On one end of the tomb is an hour glass, between two expanded wings, intended to represent the rapid night of time; underneath, on an oblong tablet. "Cave" is inscribed; and nearer the base appears the words Nescites Horam. On the other end of the tomb is a death's head, resting on a plain projecting tablet, below which are the words Mihi lucrum, nearly obliterated. At the comers of the tomb are four rude stone pillars; and at the east end a yew tree was planted by the Rev EB Bagshawe. Cricketer’s headstone is in memory of Harry Bagshaw who played cricket for Derbyshire and the M.C.C. His black marble stone depicts the ball shattering the stumps, the bails and the ball flying in all directions and the umpire’s finger pointing upward and out! The War Memorial stands in the churchyard and there are two graves of those killed in the world wars and others are commemorated on family headstones. Parish statusThe church is in a joint parish with:
OrganThe church contains a pipe organ by Brindley and Foster dating from 1879. A specification of the organ can be found on the National Pipe Organ Register.[9] References1. ^1 {{NHLE| num=1110019 |desc=Church of St Lawrence |grade=II* |accessdate=6 April 2015}} 2. ^{{cite web |url=http://www.britishlistedbuildings.co.uk/en-80637-church-of-st-lawrence-eyam-derbyshire |title=Church of St Lawrence, Eyam |author= |date= |website=British Listed Buildings |publisher= |access-date=5 April 2015}} 3. ^The Buildings of England. Derbyshire. Nikolaus Pevsner. Yale University Press. 1978. {{ISBN|0140710086}} 4. ^William Wood 1842 5. ^Eyam Church Archives 6. ^reported by William Wood in 1842 7. ^{{cite news |author= |title=Reopening of Eyam Church |url=http://www.britishnewspaperarchive.co.uk/viewer/bl/0000181/18700430/054/0010 |newspaper=Sheffield Independent |location=Sheffield |date=30 April 1870 |access-date=6 April 2015 }} 8. ^{{cite news |author= |title=Eyam Church Restoration |url=http://www.britishnewspaperarchive.co.uk/viewer/bl/0000327/18830802/041/0004 |newspaper=Derby Daily Telegraph |location=Derby |date=2 August 1883 |access-date=6 April 2015 }} 9. ^{{National Pipe Organ Register|N05331|accessdate=5 April 2015}}
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