Charles Hodgson Fowler (1840-1910) is now a neglected and forgotten architect, but in his heyday he was well known and his work was highly respected. He was born in Southwell in March 1840 and at the age of sixteen he went to London to become a pupil of the leading Gothic Revival architect, George Gilbert Scott.

At the young age of 24 Fowler was appointed Clerk of the Works at Durham Cathedral, thus laying the foundations for a professional practice based in Durham which was to last until his death at the age of 70. In his late thirties he developed a simple but distinctive style which can be recognised as his own. It was based loosely on that period of the 14^th century when the Decorated style was turning into the Perpendicular style. The first new church in which Fowler’s individual architectural voice really begins to become clear is St. Helen’s, Grove.

Hodgson Fowler designed St. Alban’s in the early 1900s when he was at the height of his mature powers and of his reputation. Its design is typical of his maturity, being a biggish ashlar church of broadly Perpendicular style. From the outside, the west end with its large transomed west window is very pleasing, and the transept-like organ chamber with its wheel window and octagonal bell turret are typical of the architect.

Internally the nave is lofty - of five bays with double concave chamfered arches resting on quatrefoil pillars. The aisles have simple single cusped windows, but the clerestory windows which light the nave are large, and of a simple design – pointed and having three cusped lights.

All is as one would expect of a late Victorian/Edwardian architect of High Church principles. The whole atmosphere of the building is of unostentatious dignity and good taste. The furnishings are of a high quality, from the late 14th century style pulpit of stone (slightly unusual) to the excellent stalls in the chancel, which are carved with motifs and tracery so recognisable as Hodgson Fowler’s work. The spacious dignity of the nave is enhanced by the absence of pews.

St. Alban’s is an excellent example of the good ecclesiastical design of its period. It is also an important example of the mature work of a neglected and underrated architect. The idiosyncratic excesses of the earlier Victorians are now often appreciated, but St. Alban’s has the misfortune to be of a style and period which is currently highly unfashionable, and which has yet to be rediscovered.

The East window in the chancel is the work of C.E. Kempe of London. It was the gift of Mrs Jones of Oaklands, in memory of her husband Samuel Jones who was Town Clerk of East Retford for over 25 years and a Churchwarden from 1874 to 1885.

The design represents Jesus reigning in his heavenly Kingdom. Kempe’s advice was that the passion of our Lord would be best shown in the reredos, while the annunciation and the incarnation might be reserved for the West window, though this was never accomplished.

The East window is in the Perpendicular style containing five lights. The central light is wider and taller than the other four. Occupying the upper portion of the central light is our Lord, crowned and seated in majesty, holding the Orb of Royal Dominion in the left hand with his right hand outstretched in blessing. Before the throne are angels offering the incense of the prayers and adoration of the saints (see Revelation 5:8; Psalm 141:2). Other angels are in the tracery of the window above. The wounds in Christ’s hands and feet are glorified into radiant points of light. Lower down in the central light St Michael the Archangel is shown vanquishing the “great dragon” (Revelation 12:7-9). There is a calm, fearlessness and consciousness of power in the Archangel’s pose and features.

On the right of our Lord stands the Blessed Virgin Mary in an attitude of reverence, while on his left is the Angel Gabriel bearing Madonna lilies and a banner on which appears the “Ave, Maria, gratia plena” (‘Hail, Mary, full of grace’ Luke 1:28)

The remaining figures, which are in the other lights, are representative of saintly characters. St Peter below the Virgin Mary holds the keys while St Stephen as first Martyr represents hosts of successors. He bears the palm branch signifying victory. In the most southerly light is St George the soldier and patron saint of England. At his feet lies the slain dragon. Below is St Cecilia, the patron saint of musicians, playing on an organ and singing with her eyes lifted up to God.

The mitred St Hugh of Lincoln occupies the most northern light, holding in his hand a model of Lincoln Minster and attended by his faithful swan. Below is St Etheldreda, founder of Stow Church (the mother Church of Lincoln), and Abbess of Ely. She was a queen who devoted herself to the religious life. She is crowned and holds a model of Ely Cathedral, and a pastoral staff to indicate her office.

The window was dedicated on Nov. 5^th 1905, and cleaned and repaired in 1965.

The inscription at the foot of the window reads: -

To the Glory of God and in memory of Samuel Jones sometime Town Clerk of East Retford; born xbi th August mdcccxxxi ; died xxix th March, mcmii.

The altar and reredos were the gift of Mrs Stott in 1909 in memory of her husband, Rev Dr Stott. Mr Hodgson Fowler, the Church Architect, designed them. The reredos was carved in soft pine by Messrs Bridgeman of Lichfield. Stanley Watkins of Ealing painted the figures.

The Reredos represents the Crucifixion of Christ, the central panel filled by Christ hanging on the Cross. Christ is represented in the medieval tradition of showing the joyful and victorious aspects of his Death and Passion. Scarcely any signs of pain and anguish can be observed.

At the foot of the Cross stand the Virgin Mary and St John. The four large figures from left to right are St Alban with a sword, St Lawrence the martyr with a gridiron, St Paulinus of York, and St Swithun.

The twelve smaller figures represent the Apostles. In the top row is St Thomas with a builder’s rule, St James the Greater with a pilgrim’s staff, St John with chalice, and St James the Less with a club. In the second row are St Simon holding a saw, St Peter with keys, St Paul with sword and St Jude with a halberd. In the third row are St Phillip with a staff, St Bartholomew holding a knife, St Andrew with a transverse cross and St Matthew with a purse.

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Miss M. Stephenson painted the Heraldic shields in 1937. The crest in the choir is the coat of arms of the Abbey of St Alban.

The nave pillars have the shields on the north side of the Dioceses of York and Southwell; London and Oxford Universities; and on the south side the Dioceses of Canterbury and Lincoln; and of the families of Hercy and Wortley.

The parish of Ordsall has been at various times in the Dioceses of York, Lincoln and Southwell (formed in 1888). It has been in the provinces of both York and Canterbury. The Universities were attended by Rev Foster and Stothert respectively. the Hercy and Wortley families were patrons of the parish for many generations.