Wednesday, 26 April 2017

Swavesey, Cambridgeshire

The last church of the day St Andrew, open, turned out to be my church of the day, not so much for its furnishings, this is a stripped back interior, but for their diversity. There are some great original poppyheads in the north aisle and modern ones throughout the nave and south aisle [some good ones mixed in with some not so good], two good Francis Skeat windows - a 1967 Jesse tree in the Lady chapel and a 1930's Christ in majesty east window, as well as good glass in the north and south east aisle windows and chancel misericords. There is also a good monument to Anne Kempe Lady Cutts.

Unfortunately, or not as I'll have to back, a combination of both aisle benches being used to display Easter flower exhibits and my flash continuously failing [I took almost 900 pictures on the day and my battery was running low] many of my images didn't come out as well as I'd like and some not at all.

ST ANDREW. The church lies immediately S of the site of Swavesey PRIORY, a house of Benedictines founded later in the C11 as a cell of St Serge at Angers. Later in the Middle Ages it was Carthusian. All that can be seen of it is some slight traces in the rough grass. The parish church is today reached by short avenues of splendid cedars and larch trees. It is a large church and one apparently built with some ambition. The exterior seen from the S is unusually fine. It dates evidently from the early C14. It is of a buff stone, the windows are tall and separated by tall, slim buttresses. The top of the walls has a parapet instead of battlements. The windows are of three lights, with tracery of much variety but all prior to the excesses of flowing tracery. The motifs are intersection, intersection of ogees etc. The N aisle windows have transoms and very delicately cusped tracery below them. The S door with its five orders of fine shafts etc. is something special (the porch is Perp). The rest of the exterior seems partly earlier, partly later. Earlier the bottom stages of the W tower with arches to the (embracing) aisles,* and to the nave and the windows higher up. The tower top with the tall pairs of two-light bell-openings and the battlements is Perp. Behind the battlements appears a later spike. Perp also the chancel windows - that at the E end of five lights - and the N windows. The interior is a little dry but not without interest. The nave walls are designed to an interesting system. The six bays have piers with four shafts and four long shallow diagonal hollows without capitals. From these rise circular shafts coming quite inorganically out of the hood-moulds of the arcade arches. They are met at right angles by a round horizontal moulding below the clerestory windows - a somewhat hard framework. Other interior details worth noting are the circular pier of the S chancel chapel, the thin shafts of the (new) E window of this chapel, the fine Dec Piscina and Sedilia in the chancel (the walls of which therefore must be at least contemporary with the S aisle scheme), and the roofs of nave, chancel, and N aisle. - FONT. Octagonal, Perp, with traceried stem and underside of the bowl and cusped panels on the sides of the bowl. - BENCHES. Many of them; with a dog, a lion, a pelican, birds, demi-figures etc. - a wide variety. - MONUMENT. Anne Kempe Lady Cutt d. 1631. By Edward Marshall, perhaps to a design of Nicholas Stone (Mrs Esdaile). Centre inscription with open segmental pediment. To the l. and r. stand beautifully carved life-size angels holding two stone doors of the inscription tablet open, as if it were a shrine.

* The choir vestry at the W end of the N aisle was added in 1916.

Poppyhead (26)

Francis Skeat 1967 Lady chapel Jesse tree (40)

Chancel poppyhead (7)

SWAVESEY. Every Cambridge student knows Swavesey, for here the fens hold out their first invitation, and when Lent term begins with frost here is excellent skating. But for those who come in summertime there is the charm of thatch and cottage gardens, and opposite the old manor house is one of the handsomest medieval churches in the county, an amazing collection of creatures new and old sitting on its array of benches.

Of the priory founded by Alan de la Zouche only a few banks and ditches are left, and it is the church which now dominates the long straggling village, its warm-tinted stone shown to perfection by the dark cedars. The imposing tower has three 13th century arches  inside, but is mostly of the 15th century. A great porch has sheltered for 700 years the richly moulded entrance into the spacious interior, where stately arcades divide the clerestoried nave from its aisles, some of their arch mouldings resting on slender shafts, others continuing to the floor.

Though the wonderful bench-ends all look old, most of them are skillful 19th century copies, and only the block in the north aisle is medieval, so low that these old seats seem to have been made for children. Both old and new ends have edges carved with flowers and all have striking poppyheads, no less than 154 in all, with animals, saints, and angels among them. Some of the animals are fighting, angels are playing fiddles; there is a dragon with two heads, a snake attacking a lion, a pelican swallowing a fish, a boar with its baby, an owl with a mouse in its beak. Passing through the 13th century chancel arch we find more entrancing stalls, again new and old, with men and animals on the arm-rests and poppyheads, one delightful poppyhead showing Aesop’s stork filling the pitcher with stones so that Master Fox can lap the overflowing water.

There is also exquisite stonework in the sedilia and piscinas of the chancel and south chapel, the heads of a 14th century man and woman by the canopies of those in the chancel, and still daintier 15th century carving elaborating the arches over those in the chapel. The graceful traceried font is 500 years old. There is a medieval stone altar with the old consecration crosses, several coffin lids, and one stone coffin. All the oak screens are modern, but one of the altar tables is Jacobean, and much old woodwork is left in the roofs, six small angels bearing up the chancel beams and two men doing the same in the south chapel. The big chest was a thankoffering from the villagers for help when floods in 1876 threatened to drown them all. A big monument of 1631 to the wife of Sir John Cutts shows two women opening a door and boasts a long genealogical inscription in which John Kempe, Cardinal Archbishop of York, figures.

Over, Cambridgeshire

St Mary, open, is a huge stone built building with a suitably large tower and spire and, as Pevsner says, is "a remarkably ornate church" both inside and out. Despite having had a remarkably successful run through Huntingdon, and having visited some remarkable churches, for the half hour or so I was here this was my church of the day. And then I went to Swavesey!

ST MARY. A remarkably ornate church, perhaps because it belonged to Ramsey Abbey. Dec and Perp parts of equal distinction. Dec first; the magnificent S aisle and S porch exterior - all built at one go c. 1320-30 and to the same plan. The windows have depressed segmental arches and either reticulated tracery or tracery of two intersected ogee arches. Above runs a frieze of ball-flower and other flowers strung up along tendrils etc. Fat gargoyles and battlements. Frieze and battlements are taken right round the S porch, and this is the most splendid piece of architecture of the church. The sides have each two two-light openings differing in design. The front has at the angles broad buttresses almost like turrets and ending like turrets in polygonal pinnacles. The buttresses are keel-shafted. Outer and inner doorway are both characteristic of their date (without capitals). In the N aisle also some early C14 windows. The W tower of the same period too (the W doorway and W window Perp insertions). Angle buttresses, and windows lower down typically early C14, higher up (bell-openings) perhaps c. 1330 (with transoms). Then again a frieze with ball-flower, heads etc., and a spire with three tiers of dormers on alternate sides. The spire is connected with the tower by solid angle buttresses, a compromise between flying buttresses and broaches. Now for the chancel. This is obviously Perp, and not too late - see the five-light E Window and the long three-light side windows with handsomely traceried transoms. The E window also has a similar effect. There is one transom, but the sill is treated as a second, and the mullions descend below it into a blank-panelled zone. The interior is as lively as the exterior. Blank shafts and arches round the windows characterize the aisle walls. The shafts rise on stone seats along the walls. The arches have hood-moulds with head-corbels. The chancel walls use the same system, but the shafts here have intermediate capitals half-way up which are castellated. The arcade (of six bays) also must be Early Perp. The piers have semi-octagonal shafts and double-hollows in the diagonals separated by a ridge. Only the shafts have capitals, and these are thickly embattled. The arches are steep and have complex mouldings. The nave roof has as corbels for the principals niches with small standing figures. The niches on their part rest on demi-figures. The roof itself is of the tiebeam and king-post type. - FONT. Octagonal, Perp, with blank arches containing shields. - ROOD SCREEN. Not well preserved, but with that rare survival a ribbed coving (on the E side only). Single-light divisions and plain arches with Perp tracery above. - CHANCEL STALLS. Six with Misericords with mostly carvings of heads; said to come from Ramsey Abbey. - PULPIT. Jacobean with an ogee-dome as a tester, a shape more familiar from font covers.

Grotesque (2)

Chancel S misericord (1)

S aisle Glass (4)

OVER. It lies among the orchards, but the fishermen know it well, for the wayward Ouse broadens out where the ferry takes us over the border to a delightful little inn. But Over will not let us hurry away, for it has a handsome church which the centuries have filled with interest without and within. Its sanctus bell has hung in the bellcote for 600 years, and all that time the spire has been pointing the village folk the way to Heaven. The tower is older still, a landmark in this valley since the 13th century. Its fine west doorway has a niche at each side, and above it a sculpture of Our Lord in Glory.

It is the 14th century porch by which we come in, through a splendid entrance archway with deep mouldings and shafts. The porch has beautiful open windows at each side, fine buttresses with embattled cresting from which rise tall pinnacles, and under the battlements trailing ballflowers which run along the aisle with a fine array of gargoyles. Among these is an owl, a lion, men with great heads and open mouths, and a woman emptying a pitcher.

The church is full of light, and old stone seats run round the walls (so that the weakest went to the wall), and the arcades and clerestories have stood 600 years. Between the arches are kings, bishops, and people, and from the mouldings of the capitals peep out little heads, one of them with three faces. Above it all is an old roof with kingposts supported by 14 oak figures in niches. A 13th century arch leads us into the 15th century chancel, through the original oak screen, which has lost its vaulting on the west but keeps it on the east. The chancel windows are set under arches, and the piscina has a pretty drain with six holes and a rose in the middle. Some of the stalls are old, with seats carved with grotesque animals, flowers, and heads, while on the arm-rests are quaint carvings among which we noticed a horse with a head like a hippopotamus, a little bearded man wearing a kilt and a big hat, a griffin with a pig in its claws, and a dragon eating a man. The fine Jacobean pulpit stands on a 600-year-old pedestal, and has a richly carved and vaulted canopy. The 15th century font has angels round the bowl, the old chest has a gabled lid, and there are traces of wall-painting in which a kneeling figure can be seen.

Wednesday, 5 April 2017

New targets

Having moved 11 miles north to Saffron Walden I recently reconfigured my Google Earth 'How Far Can I Travel Map' and have added a further 294 churches to be visited [I'd already decided to cover 127 Huntingdon & the Soke of Peterborough churches, visits of which can be found here].

A move of 11 miles opens up 105 in Bedfordshire, 62 in Cambridgeshire [actually a few are further than 50 minutes drive but it seems daft not to complete the county if I can], 42 in Norfolk, 16 in Northamptonshire and 69 in Suffolk.

For the moment I'm going to carry on with the Huntingdon/Peterborough area, of which I have 83 left to visit and will probably then move on to Cambridgeshire.

Friday, 17 March 2017

Chatteris, Cambridgeshire

SS Peter & Paul is a largish rather splendid building set in a jewel of a churchyard full of interesting C18th headstones. When I arrived a funeral was about to start so I didn't get inside but I'm fairly sure that its normal status is LNK; a quick Google shows that Chatteris doesn't have the most reputable reputation. Reading Pevsner I don't think it contains much of interest.

SS PETER AND PAUL. Mostly by Sir Arthur Blomfield’s firm in 1909-10. But the nave arcades and the comparatively small W tower are of the C14. The arcades are of six bays, with tall octagonal piers and fine heads as stops of the hood-moulds of the arches. The W tower has diagonal buttresses, a doorway with a triple-chamfered surround without capitals and a lancet window above. The later top is embattled and carries a recessed lead spire. - PLATE. Paten given in 1708; Chalice and Flagon given in 1728; Paten marked 1744.

Chickenwire gardener

Headstone (8)

Headstone (1)

CHATTERIS. Lying on a busy road in the fenlands, it has a very old story, for here bones of extinct animals have been found, a. bronze sword has been brought to light in a dugout canoe, and the plough has turned up an urn with a thousand Roman coins. An Elizabethan manor house hiding behind a wall stands on the site of a vanished convent founded by the wife of Earl Athelstan the Saxon. The Vermuyden Drain near the town recalls the draining of the fens by the great Dutch engineer in Cromwell’s century, and Honey Farm keeps green the memory of Huna, the faithful chaplain of St Etheldreda, who lived here as a hermit after her death.

The medieval church has been refashioned by the generosity of a sexton’s son who made a fortune in America and spent much of it on the church his father had cared for. It is spacious, with the tower and its lead spire, the lofty arcades and the font, all from the 14th century. Between two of the arches is a sculpture of an old man sitting cross legged, and there are figures of two bishops among the heads looking down. One is a bishop of our own day, and looking across the nave at him is the vicar who restored this church in the first quarter of our century. He was Henry Bagshaw; the fine oak screen is his memorial.

The beautiful pulpit with St Edmund and St George is in memory of his son, who fell in Flanders. The heroes of the village are remembered by a cross with a lantern head in a wayside garden, and also in the east window of the church, which shows Our Lord with a great company of saints and apostles, prophets and martyrs, and the armed knights of the Allies carrying their flags.

Among the 158 men of Chatteris who died for peace was one who has a window to his memory, George William Clare. He was a choirboy here, and won the VC by carrying wounded men to the dressing station during heavy bombing. When the garrison of a detached post had all fallen he crossed a space of 150 yards swept by heavy fire, dressed all the cases, and manned the post single-handed. He carried one man to cover through intense fire. Learning that the enemy was using gas, and that the wind was blowing it towards the trenches and shell-holes, he personally warned every post of the danger, being all the time under shell and rifle fire. He died a very gallant gentleman, killed by a shell, and it is good to know that the street from which he went out to the war is named after him.

Friday, 24 February 2017

Ufford, Suffolk

Suffolk is a county that just keeps giving; every time I think that I've visited the best church yet along comes another one that makes me think again, St Mary of the Assumption, open, is one such.

A beautiful setting, stunning flushwork, a John Doubleday BVM and inside an astonishing array of bench ends and poppyheads - not hyperbole I assure you -, some very good stained glass, the extraordinary telescopic font cover, a bonkers sarcophagus tomb and some long dead relatives instantly posted it into my top ten and not just of Suffolk. Simon Jenkins gives it a measly two stars, my advice would be to ignore this and visit immediately.

ST MARY. Norman N walling. Re-used Norman doorway in the chancel. The arcade consists of two parts. The two E bays are of c. 1200, with massive round pier and responds; the four-centred arches are Perp. The W bays are later; octagonal pier and two-centred arches. All the arches are double-chamfered. W tower with a little flushwork decoration, S porch with much stars with shields, quatrefoils, a wavy tracery band, and arched panelling. Three niches above the entrance. Clerestory of eight windows against the four bays below. Fine roof with alternating hammerbeams and tie-beams. Chancel roof with collars on long arched braces. The braces are divided in two by pendants coming down from the purlins (cf. Crowfield). The purlins are longitudinally arch-braced, and the wall-plate is richly decorated with battlements and small angels with spread wings. - FONT. The bowl is supported by heads. Against the bowl shields and roses set in quatrefoils and similar fields. - FONT COVER. A prodigious and delightful piece reaching right up to the roof. Munro Cautley calls it ‘ the most beautiful in the world’. Richly crocketed and beset with finials in six or seven tiers, or three, according to how one counts in this thicket of fine decoration. At the very top a Pelican in her Piety. The lower panels slide up over part of the upper. - SCREEN. Dado with painted figures, and rood beam. - BENCHES. With much tracery and poppy-heads on the ends, and to the l. and r. of the poppy-heads animals. - (SOUTH DOOR. With C14 ironwork. LG) - BELL. Of c. 1400 (on the floor at the W end). - PROCESSIONAL CROSS. Said to be C17 Flemish. - CANDLESTICKS and CRUCIFIX on the High Altar, said to be dated 1707 and Italian. - PLATE. Cup and Paten 1671. - MONUMENTS. Brass to Symon Brooke d. 1483 and three wives. 18 in. figures (nave floor). - Sir Henry Wood d. 1671. At the W end of the S aisle big sarcophagus and on it a shrine-like black marble shape crowned by a cartouche with a coat of arms. Free-standing on the sarcophagus an urn. - Outside the W wall of the churchyard STOCKS.

Bench end SS Catherine & Margaret

S chapel E window Ninian Comper 1920 (10)


UFFORD. We walk where Roman feet have been, down deep-shaded lanes to this old place, built on a steep road below which the River Deben flows. It was the ford of Uffa, a Saxon chief, and is said to have been owned by one family for many centuries.

The old flint tower stands by quaint houses with thatched and red tile roofs and tall chimneys; at the gate are the stocks and whipping-post. The church dates from our three great building centuries, the tower added in the 14th and the chancel in the 15th. A little of its medieval colour still shows faintly on the roofs, but the painted figures of martyrs are fading away on the ancient screen, and the wall-painting of St Christopher was almost gone when we called.

There are a few fragments of old glass, an old hourglass by the pulpit, and 15th century stalls carved with saints and queer beasts. The cornice is richly carved with angels, the work of the peasants of Oberammergau. In the memorial chapel to those who did not come back from the Great War is a window with a bluejacket and a soldier helping to bear up the Cross on the road to Calvary. The faces are beautiful.

The 500-year-old font has shields round the bowl resting on heads, but the chief glory of Ufford is its exquisite font cover, a marvellous possession. It reaches almost to the roof, and is crowned with a pelican, and the whole of this mass of woodwork is finely carved and painted. This masterpiece of craftsmanship is 600 years old and the finest font cover even in East Anglia, the home of many lovely ones. It is actually recorded that that breaker of beautiful things William Dowsing, the fanatic who destroyed much lovely work in our churches, was held spellbound at this font and stopped to admire this “glorious cover, like a pope’s triple crown, and gilded over with gold. Towering 18 feet high, it is a mass of lovely pointed tabernacles of open tracery and lacelike pinnacles. It seems to us that Solomon’s temple in all its glory could hardly have had a thing more beautiful than this.

At the font would be baptised old Richard Ballett, whose skeleton is here on a brass with two dragons; and here old Richard Lovekin was baptising the children of Ufford all through the Civil War. He may have heard of Shakespeare, for he was preaching here soon after the poet died and went on preaching 57 years. It is said of him that he was plundered of all his goods except a silver spoon which he hid up his sleeve, and either that or something else brought him good luck, for we are told that he lived to be 111 and preached to his people the Sunday before he died. So did Lovekin love his kin.

Melton, Suffolk

On my way to Ufford from Woodbridge I passed Old St Andrew and stopped for an impromptu visit. This redundant church is cared for the Melton Old Church Society and is sadly, though given its remotish location perhaps inevitably, kept locked although there is a notice with numbers to call to arrange a visit "with prior notice" [which is not much good, as I've railed before, to the unplanned visitor].

That said I loved the exterior, the lovely churchyard and its stunning location.

OLD ST ANDREW. Dec W tower with flushwork decoration on base, buttresses, and battlements. The W window has reticulated tracery. Nave only, with a small C19 apse. - BRASSES. Ecclesiastic, Civilian, and Lady, all of c 1430, all c. 2 ft 6 in. figures (NW corner).

Old St Andrew (2)

MELTON. Its long street joins Woodbridge, but it has its own history and some ancient houses. Here is an ancient gaol now used for housing goods; the governor’s house has old oak beams and windows from which the governor could see the gabled roof of the gaol. In this old prison two heroes of Melton were held captive, Alice Driver and Alexander Gouche, both burned at Ipswich in the terrible days of Mary Tudor. They were found hiding in a haystack and poked out with pitch-forks. At the trial Alice Driver compared Queen Mary to Jezebel, for which the judge ordered that her ears should be cut off on the spot, which was done. They were led to the fire at Ipswich singing Psalms.

There is an old church and a new one, the new one containing the old font on which is carved the crucifixion of St Andrew. The old one, seeing no service now except for burials, is in the deep peacefulness of lanes and trees a mile away. It is 14th century and still has in it three brass portraits - a priest of about 1430, a civilian in a tunic with wide sleeves, and a lady with a veiled headdress.

In this village was born in 1814 Edwin Lankester, the father of one of the famous Victorians, Professor Ray Lankester; and here there sleeps, in the new church where he has a window in his memory, Henry Seton Merriman, whose novels were widely read at the end of the 19th century. He was Hugh Stowell Scott, who died at only 41, having made a reputation with his novels, one of which was The Sower.

Poor and half-starved in his youth, Edwin Lankester made the most of every opportunity for study that came his way. He won degrees in London and Heidelberg Universities, and in books, articles, and lectures he spread a knowledge of the causes of disease. So efficient was his work with the microscope in showing that bad water caused the cholera epidemic of 1854 that he was appointed first medical officer for Westminster. A few years later he was elected coroner for Middlesex, a position he held till his death. In spite of strong protests on the ground of cost he insisted on adequate medical certificates being given in every case of death, and in a series of annual reports issued at his own expense he called attention to the crimes of baby-farming and infanticide which were still prevalent in the middle of the 19th century. He was one of the great pioneers of sanitary and social science, and the health of London owes much to his vigour and foresight.

Tuesday, 21 February 2017

Grundisburgh, Suffolk

I'm not going to offer an original thought on St Mary - but it was what struck me first - why on earth has a water tower been tacked on to a church?

That aside I found a whole new family connection to the Blois family buried here and an interesting building in a lovely village.

ST MARY. S porch tower of 1751-2. Red brick, with angle pilasters, short Doric below, very elongated Doric above. Arched windows; parapet. The chancel is of the late C13, as shown by the Piscina with dog-tooth decoration and the mouldings of the chancel arch. Dec S aisle, see the arcade (octagonal piers, double-chamfered arches) and the windows. Dec also the N doorway of the nave. The nave windows are Perp, and Perp too is the fine S chapel. Parapet with shields in the battlements and inscription referring to 1527 and Thomas Walle, salter of London, and his wife. Priest’s doorway set in the buttress, as at St Stephen Ipswich and at Trunch Norfolk. Perp clerestory of nine closely-set windows. A broad band of flushwork initials, etc., connects them. Perp finally the splendid nave roof, one of the most beautiful in Suffolk. It is a false double-hammerbeam roof, i.e. the upper hammers are false. Angels against the foot of the arched braces and against the harnmerbeams proper. The upper hammerbeams end against pendants coming down from the collars. Kingposts, again with small angel figures, on the collars. Short arched braces also connect the wall-posts in a W-E direction. Richly decorated wall-plate. Good roofs in the S aisle and S chapel too. In the S chapel the arched braces stand on angel corbels of stone. - FONT. On three steps, the upper two with quatrefoil friezes. Against the stem four lions. Against the bowl four lions and four angels, their heads just peeping out behind the shields they hold. - SCREEN. Good rood screen with one-light divisions. The dado of the S chapel screen has the Initials of Christ painted on as a repeat ornament. The upper parts simple. - BENCHES. A few with traceried ends, poppy-heads, and figures. - PAINTING. St Christopher; N wall. Further E on the N wall two C13 figures, discovered recently. - PLATE. Cup perhaps Elizabethan; Cup and Paten 1668; Almsdish 1676. - MONUMENT. Sir Charles Blois d. 1738. No effigy. Big inscription tablet with pilasters l. and r. with cherubs’ heads instead of, or in front of, the capitals. On top a trumpeting putto. The church lies in a good position N of the Green, but its situation is spoilt by the Victorian school immediately to its W and impaired by the War Memorial, which is a little too grand for the village and the place in front of the church.

Tempis fugit

Cranworth Garter banner

Warning against gossip

GRUNDISBURGH. It is charming with thatched cottages and fine houses, among them Grundisburgh Hall, which dates from 1500 and hides in a wooded park. Near the church is a beautiful Tudor house with half-timbering and handsome brick chimneys,

Under little bridges on the green runs the River Finn, and looking on from the churchyard is a village cenotaph in memory of 30 men who died for the peace of the world. Seven men who went from here were awarded honours, two winning the DSO and one the Croix de Guerre.

A noble cedar shades the path to the church, which, though it has an 18th century brick tower, is mostly the work of 14th and 15th century builders. On the north side it is plain, but the south has much decoration. Between the clerestory windows there is ornamental flintwork, showing an almond tree in a pot, the words Ave Maria, and crowns. The nave and a Tudor chapel have panelled battlements, and in a delicate niche over the little doorway we see the Madonna carrying lilies. There is also a mass dial. The interior is light and spacious; and we are thankful that it is so, for here is magnificence which should not be hid. The screen in red and black and gold was fashioned 500 or 600 years ago, and is splendid with its fruit and foliage and traceried panels. In the chancel are two fine old beams, and in the 14th century aisle is a fine old roof with floral bosses and 14 wooden angels. But the greatest possession of Grundisburgh is the superb nave roof, a double hammerbeam structure 500 years old with a richly carved cornice, and no less than 58 angels arranged in three tiers.

There is a very attractive 13th century piscina, a modern pulpit carved in stone, corbel heads of angels and kings, an east window of the Ascension, and a handsome medieval font, with angels and crude lions on the bowl and more lions below. The octagonal piers of the nave are 600 years old, and still here are the stairs to the roodloft and a few fragments of ancient glass. There are old and new benches with poppyheads, four very handsome ones in the chancel being carved with the symbols of the Evangelists - a lion, a bull, an eagle, and an angel, all with wings.

A wall-monument of 1657 shows Robert Brook and his wife kneeling at a little desk, with a quaint group of seven children below; and a big stone crowned with a cherub blowing a golden trumpet tells of Charles Blois who died 200 years ago.