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© Mr Peter Garratt

IoE Number: 473088
Location: CHURCH OF SAINT PETER, MANEY HILL ROAD
  SUTTON COLDFIELD, BIRMINGHAM, WEST MIDLANDS
Photographer: Mr Peter Garratt
Date Photographed: 30 July 2006
Date listed: 04 March 1999
Date of last amendment: 04 March 1999
Grade II

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SP 19 NW SUTTON COLDFIELD MANEY HILL ROAD, 2/10017 Church of St Peter GV II Church. The principal part of the church 1905 and so dated on the foundation stone; the western most twenty feet of the nave and aisles, and the tower, added in 1935; designed by Cossins, Peacock and Bewley and built by Thomas Elvins. Red brick with dressings of buff terracotta, roof of slate. Chancel, nave, north and south transepts, north and south aisles, south-west tower, north-east vestries and south-cast organ chamber. The sanctuary is in the form of a five-sided apse under a lower roof than the choir with a window in each of the 'chamfered' walls and embattled parapet decorated with chequerwork in brick and buff terracotta; the cast window is in the gable to the choir; two windows to north of choir. All chancel windows are pointed-arched with hollow chamfers to the brick reveals, two lights (except for the cast window which is of five), and rectilinear tracery under hoodmoulds having foliage stops. The transepts have angle and centre buttresses with moulded terracotta offsets, and two pointed-arched windows with rectilinear tracery and hoodmoulds. The aisles are of two-and-a-half bays, divided by buttresses, with segmental-arched windows with rectilinear tracery, two of three lights and one lancet; the clerestory has seven flat-arched windows, six of two lights with alternating patters of tracery, and one of one light; entrance in westernmost bay of north aisle, under a segmental pointed arch with chamfered reveals, multi-moulded archivolt, hoodmould, foliage stops and a panelled door with ornate wrought-iron hinges. The west end has three flat-arched windows, the middle one of two lights, and above that a rose window with tracery in the form of a cross and sexfoiled circles; the windows are linked by a pattern of tiles set on edge which runs up into the gable. West entrance set slightly forward under the tower with a deep portal having multi-ordered archivolt within a pattern of decorative brickwork; the tower itself is of three stages with setback buttresses except for the polygonal stair tower on the south-west corner; belfry stage with louvres under geometrical tracery in a pointed-arched opening; parapet with an open, arcaded balustraded at the centre of each side. To the south of the tower is a church hall of recent date which is not of special architectural interest. INTERIOR: The sanctuary is divided from the choir by a broad, elaborately moulded pointed arch, like a chancel arch, which is the most striking feature of the interior. Marble reredos in a late Gothic manner, panelling embellished with brattishing to the sanctuary and north side of the choir, and an organ case in a late Gothic manner to the south side of the choir; choir stalls possibly of a date with the church; multi-ordered chancel arch of brick; nave arcade of four-and-a-half bays: the stone columns are octagonal but with two broad faces, and they die into the pointed arches without capitals: the impost is of stone, the arcade above that of red brick with a cornice at clerestory level; lesenes of stone, and then brick, run up from the inner faces of the arcade to corbels for alternate roof trusses; two-bay transepts to north and south, that to the north having a small chapel on its east side with an elaborate late Gothic reredos of 1932 fined with a triptych painting of the Resurrection by Sidney Meteyard, the ceiling decorated with stencilling and gilded plasterwork; north and south vestibules at the west end, the west window is set in a slight recess, whose face is decorated with patterns of brick and tiles set on edge; nave roof of hammer-beam trusses; fine stained glass in the sanctuary, over the sanctuary arch and in the west rose window; below the west window are four lights filled with glass of 1932 probably by Sidney Meteyard.

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