Index

Wednesday, 31 October 2018

Santon Warren, Norfolk

All Saints, open, was meant to be my eighth visit of the day but my sat nav refused to recognise the postcode I had and also refused to recognise that Santon, Norfolk was a thing, so I abandoned it as a lost cause. Later whilst at Santon Downham I saw the smallest sign ever made for Santon Warren and followed my nose to St Helen's picnic site and from there to the church. Truth be told there's not a lot to see here - it's a tiny church - but full and proper kudos for being open.

ALL SAINTS. Said to have been rebuilt in 1628 with medieval materials. If this is true, it certainly does not show any longer. In 1858 the chancel was added, with parts of the S transept of West Tofts church. The only remarkable parts are the E.E. stiff-leaf corbels on heads. The E.E. windows all look C19. Medieval the two hood-mould stops in the form of balls of leaf which are above a window in the tower. This is in a SW position, a position not unusual in this area of Norfolk. - PLATE. Chalice, 1633-4; Paten of about the same date; Paten, 1805-6.

All Saints (4)

Chancel roof

Four apostles (4)

Mee missed it.

Santon Downham, Suffolk

St Mary the Virgin, open, looks as if it has been lifted straight out of an illustration for Hansel & Gretel and, indeed, the church brands itself as the church in the forest. Not only is the building fascinating, it is also impossibly romantic.

ST MARY. Small, Norman, with an unbuttressed Perp W tower. At the foot of the tower initials in stone-carved panels and also the names of those who gave money for its erection (John Watt, John Reve, John Dow . . ., Margret Reve, Patsey Styles, William Toller). Some flushwork panelling too. Norman S doorway with spiral-fluted shafts and roll-moulded arch, N doorway the same but with altered arch. Above the S doorway an interesting carved panel, a lion in profile, its tail ending in a kind of fleur-de-lis. Norman window splay on the N side converted into a lancet. Priest’s doorway into the chancel Norman, but with some dog-tooth in the arch. Not in situ. Chancel with C13 N windows and a low tomb recess. One Dec S window. The church had a S chapel. Part of its pointed arch has been uncovered and has C13 WALL PAINTING of thin scrolls. There was also a N chapel. The moulding of the arch looks c. 1300. - PULPIT. Jacobean. - SCREEN. Very early C14. Shafts, not mullions. Wide ogee-arched entrance with tracery over. - BENCHES. Two with poppyheads. - STAINED GLASS. Several windows by Kempe, including the W window of c. 1880-1. - PLATE. Elizabethan Cup and Cover.

S door (2)

St Francis (3)

Flushwork (4)

SANTON DOWNHAM. A very lovely place, without a sign of the busy world, the Little Ouse flows peacefully by it, and crossing its little bridge we are in Norfolk. All round are beautiful forests, with acres of new pine trees growing up, roadsides gay with Rose of Sharon when we called, and a profusion of wild flowers. The village is sometimes called Sandy Downham, reminding us of a dark day in its history (soon after London's Great Fire) when a great wind blew up the light sandy soil over the houses, burying and destroying several of them.

A lovely road shaded by limes brings us to the little flint church, which, together with its 13th century walls, has kept some signs of the Saxons and the Normans. Saxon long-and-short work is visible in the porch, and there are two Norman doorways, the south one having spiral pillars. Above it on a stone panel is a relief of the Holy Lamb eating the foliage of a tree. The north doorway has twisted pillars with carved capitals, and corbel faces almost worn away, the old door still hanging in it. There is a small priest’s doorway, and round the base of the tower is an inscription with sacred monograms and a merchant’s mark.

Most venerable the interior seems, with deeply splayed windows, a Jacobean pulpit, two heavy old benches with poppyheads, a plain font with an old pyramid cover, and a handsome 14th century screen, its lower part painted red and green. In a chancel window is a little old glass, but it is as nothing compared with the charming modern glass which delights us here. Three narrow lancets show Faith in a green robe, Hope with an anchor, and Charity with a child. The east window is a Resurrection, and the delightful west window by Kempe shows the Annunciation. Close by on the west wall is a marble medallion of Colonel Cadogan who fell in the Battle of Vittoria in 1813. He is well remembered in our churches, for there is a monument to him in Chelsea parish church, another in Glasgow Cathedral, and another by Chantrey in St Paul’s. The Chantrey monument depicts the dramatic scene at Vittoria, where the Colonel was commanding the 71st Highlanders. Mortally wounded in charging at the head of his men, he was carried to a neighbouring height to look out on the successful issue of the battle before he died.

In the churchyard is the base of an old cross found in a wood near by, and among many carved tombstones we noticed one of 1778 adorned with sun and stars, a trowel, a mallet, a set-square, and a book. There is a stone to George Arthur Phillips of last century, one of the early pioneers in South Central Africa.

Thetford, Norfolk - Holy Sepulchre

Cards on the table, Thetford. is. a. hellhole. Whoever is responsible for traffic management should be sacked and the people responsible for its development need to be held accountable for what Simon Knott memorably describes as the "rape of Thetford". Generally I find this area of Norfolk to be amongst the most attractive of East Anglian delights but Thetford is an irradicable stain. It also appears to be fairly Godless [unsurprising] since two of its old churches are redundant and the third locked. It's a soul destroying town.

Holy Sepulchre is a ruined Augustine Priory rather implausibly situated in the middle of a modern housing estate. It suffers by comparison to the Priory of Our Lady.

THE CANONS, Brandon Road. Remains of the Augustinian Priory of St Sepulchre, founded in about 1139. Aisleless nave. The W wall stands high up. The chancel has disappeared. Little of details.

Holy Sepulchre

You can find Mee here.

Thetford, Norfolk - St Mary the Less

Cards on the table, Thetford. is. a. hellhole. Whoever is responsible for traffic management should be sacked and the people responsible for its development need to be held accountable for what Simon Knott memorably describes as the "rape of Thetford". Generally I find this area of Norfolk to be amongst the most attractive of East Anglian delights but Thetford is an irradicable stain. It also appears to be fairly Godless [unsurprising] since two of its old churches are redundant and the third locked. It's a soul destroying town.

Another redundant church but luckily:

www.edp24.co.uk/news/grade-ii-listed-st-mary-the-less-chu...

Jenny Freeman has snapped up the 14th century St Mary the Less Church in Bury Road, Thetford, with the intention of turning it into flats.

The purchase signals the end of a long period of uncertainty for the church, which has changed hands several times in recent years.

It has also been listed on both English Heritage and Norfolk County Council’s Buildings at Risk list.
Dr Freeman said the church was in a sorry state, but was salvageable.

“It is in gross disrepair. It’s full of pigeons and many of the windows are badly damaged. It’s dreadful and I don’t know why it wasn’t protected earlier.

“But fortunately the roof seems to be reasonable and the building is actually very dry inside.
“The burial ground is very pretty with some beautiful plants and trees,” she said.

Dr Freeman is a council member of The Chapels Society, a group which helps to preserve places of worship.

She said St Mary the Less would be the 28th refurbishment project of its kind she had carried out.
“I’ve been working in the field for nearly all my adult life and I was looking for a project on the Buildings at Risk list.

“When I saw the church, I saw it had great character with the huge tower, but was so sad. I felt I could make something of it,” she said.

Dr Freeman is now working with Breckland Council’s conservation officers to draw up a planning application for the project.

She said she expected work to begin next year, pending approval of the plans.

The building has been derelict since 2004 when it was bought by Rod Collins for £124,000.

Mr Collins had been trying to offload the church for several years, during which time Breckland Council carried out emergency works on a large hole in the roof.

Stuart Wilson, secretary of the Thetford Society, said the society was delighted with Dr Freeman’s involvement.

ST MARY THE LESS, Bury Road. Perp, with chancel lengthened in white brick. Two-bay N arcade. The pier has capitals only towards the arches. - FONT. Square, with tapering sides. Norman. Primitive volutes at the corners. Incised band of scallops between. - PLATE. Chalice and Paten, 1755; Flagon, 1778; Almsdish, 1785, all London made. - MONUMENT. Sir Richard Fulmodeston d. 1567. This was originally a tomb-chest. The large tablet with coats of arms in extremely simple framing is the former front, the lower part is the former ends. The inscription is a copy.

Works are underway:

St Mary the Less (5)

For Mee see here.

Tuesday, 30 October 2018

Thetford, Norfolk - St Cuthbert

Cards on the table, Thetford. is. a. hellhole. Whoever is responsible for traffic management should be sacked and the people responsible for its development need to be held accountable for what Simon Knott memorably describes as the "rape of Thetford". Generally I find this area of Norfolk to be amongst the most attractive of East Anglian delights but Thetford is an irradicable stain. It also appears to be fairly Godless [unsurprising] since two of its old churches are redundant and the third locked. It's a soul destroying town.

St Cuthbert, locked, appears to be an Evangelical church - this is based on no more than its sign and the fact that such a central church [with little danger of lead stripping of other perfidy]  is kept locked, in my experience such churches are retained for the God fearing few and not for the likes of you and me - and thus sent a shudder up my spine. I rather liked the west vista but suspect I missed little inside.

ST CUTHBERT, King Street. Simple C13 S doorway with shafts, W tower (rebuilt after I854) with flushwork parapet. Perp S aisle; N aisle of 1902. In the chancel C13 double piscina. - (SCREEN.C15) - PLATE. Set, inscribed 1810.

St Cuthbert (2)

For Mee see here.

Thetford, Norfolk - St Peter

Cards on the table, Thetford. is. a. hellhole. Whoever is responsible for traffic management should be sacked and the people responsible for its development need to be held accountable for what Simon Knott memorably describes as the "rape of Thetford". Generally I find this area of Norfolk to be amongst the most attractive of East Anglian delights but Thetford is an irradicable stain. It also appears to be fairly Godless [unsurprising] since two of its old churches are redundant and the third locked. It's a soul destroying town.

Redundant -

www.edp24.co.uk/news/thetford-s-empty-st-peter-s-church-t...

One of Thetford’s three surviving medieval churches, St Peter’s, on Whitehart Street, was bought by the town council from the Norwich Diocese in 2008 for just £1. Although works were done to revamp the building it was left unused.

However, Thetford-based community voluntary organisation SIMPLE Norfolk, has taken on the lease and has vowed to bring life back into the Grade-II listed building while also maintaining its heritage.
The organisation, whose youth project Inspire Focus - which supports young people into education, careers and volunteering - will use the church as a base, will turn the space into a community hub.
Renamed St Peter’s Cultural Arts Centre, it will house a piano-bar style cafe, where people can pick up an instrument and play, and will also be a music venue.

Joe Barreto, who runs SIMPLE Norfolk with his wife Carla, said: “It is about having a place that the community feels proud of and it can use. We don’t want this to be a temporary thing; we want it to be long term.

“Young people should have a place they can depend on. We want to make this available for them and we want to make it a place for the town.”

The couple said work to refurbish the church will be a gradual process. They hope to re-do the flooring and repaint the inside walls. They also want to preserve stones on the centre aisle by creating a glass floor and hope to encase the altar in glass to protect and keep it for people to enjoy.

“It is one of the oldest buildings in the town and is a place people feel a connection with,” said Mrs Barreto, who has said young people will be trained to work in the café. “We want to be able to preserve it and for it to be a place where people can enjoy and be proud of.”

The space will also include an infinity photography studio which will be used by Inspire Focus youngsters but will also be available to the community.

The couple are hoping to raise money to help with the work.

They have applied for an Aviva Community Fund grant but need people’s votes.

Suffolk singer and song writer Alton Wahlberg will play an acoustic night, featuring other local artists, at the St Peter’s Cultural Arts Centre on Friday, November 17 from 7pm.

And less than a year later they've been evicted! Too depressing and now the church is inaccessible.

ST PETER, King Street. W tower with buttresses with handsome chequer flint- and stonework. The tower was rebuilt in 1789, and the pretty Gothick doorway dates from that time. N aisle with original roof and arcade of four bays towards the nave. Octagonal piers, double-chamfered arches. The same design for the N chapel arcade of three bays. Perp windows. - Two wrought-iron SWORD RESTS, C18. - STAINED GLASS. Heraldic, C18. - PLATE. Two large Chalices, two large Patens, and two Flagons, silver-plated but gilt, given in 1791; two Patens, 1791.

St Peter (1)

St Peter (2)

Well that went well

For Mee see here.


Thetford, Norfolk - Priory of Our Lady

Cards on the table, Thetford. is. a. hellhole. Whoever is responsible for traffic management should be sacked and the people responsible for its development need to be held accountable for what Simon Knott memorably describes as the "rape of Thetford". Generally I find this area of Norfolk to be amongst the most attractive of East Anglian delights but Thetford is an irradicable stain. It also appears to be fairly Godless [unsurprising] since two of its old churches are redundant and the third locked. It's a soul destroying town.

Having said that the Priory of Our Lady, obviously ruined, English Heritage owned and open, is fascinating but felt oddly under utilised. I loved it.

PRIORY OF OUR LADY. Founded for Cluniac monks from Lewes (the earliest Cluniac settlement in England) by Roger Bigod in 1103-4. The monks first occupied the cathedral, as the bishop had moved to Norwich in 1094. They began building on a new, the present, site in 1107, and in 1114 the church was taken into use. At that time probably only the E end was built. The nave must have followed quickly, and the W front was reached, it seems, about 1130-40. Meanwhile the monastic quarters were also built and indeed, except for later additions and alterations, completed.
The oldest parts are the W half of the chancel and the transepts. The chancel has aisles, and chancel as well as aisles ended in apses. As the transepts also had an E apse each, the scheme of the plan is that of the C10 abbey of Cluny. The piers between the chancel and the chancel aisles had shafts towards the chancel but segmental projections towards aisle and arch openings (cf. Norwich Cathedral and Ely). The aisles were vaulted. The transept apse was provided with blank arcading inside and demi-columnar buttresses outside. In the W wall of the S transept are tall shallow recesses. Of the upper part the pier at the junction of main apse and S aisle apse stands up highest. It has double shafts towards the high and monumental apse arch, with decorated capitals and roll mouldings in the arch. Remains are also recognizable of the gallery and a shafted clerestory window. Of the crossing, the nave and aisles, and the W front much less can be distinguished. The W front had two towers and the bay below the N tower still has some internal details (odd W respond of the arcade between N aisle and nave). To the outside there was blank arcading, probably somewhat like Castle Acre (which was also Cluniac). The W portal had four orders of shafts.

Of later additions to the church the most important are the Lady Chapel and the lengthening of the chancel, the former of the earlier, the latter of the later C13. Of details belonging to the Lady Chapel the shafts of the E window are still in situ, Of details belonging to the chancel the arcade towards the Lady Chapel remains. In the N transept a wall towards the crossing was inserted in the C14, in the N aisle a chapel for the monument of the first Howard Duke of Norfolk (d. 1485). N of the N transept sacristies were erected in the late C15.* The pulpitum stood between the W crossing piers, the rood screen one bay farther W.

The monastic buildings are early C12 along the E range of the cloister, a little later along the S and W ranges. In the E range, as usual, a sacristy lay S of the transept. It was originally apsed and later lengthened. It was followed by the chapter house, which also had an apse originally. After that the stairs to the dormitory, which was placed above this range. The slype, i.e. corridor towards the buildings farther E, is the next apartment. This had wall responds and was vaulted. The buildings farther E were connected with the infirmary and arranged in an unusual and very attractive way round their own little cobbled cloister with a well in the middle. The infirmary hall took the position of the church in the monastery. Its E end was indeed, as customary, the chapel. This range dates from the C13 , but little of details survives all along here. The other ranges round the little cloister belong to the C15. S of the slype followed the undercroft of the remaining part of the dormitory, resting on a row of round middle columns. This part was altered shortly after to house parlour and warming house. At the S end of the range the reredorter or lavatory with its flushing channel along the S side.
The s range of the cloister group contained the refectory. Its big S buttresses are a C14 precaution. The W range is not easy to read. The cellar lies well below the level of the cloister. It also had columns along its middle axis and was much changed about by cross-walls later. A circular scalloped capital from one of the columns can still be seen. At its S end were the kitchens. An outer porch was added at the N end late in the C13.

Of further buildings there is one of unknown function, a range W of the N end of the W range, detached and outside the present boundary wall. It goes under the name of Prior’s Lodge and has two C12 arches in the middle of its S wall. The smaller of them has a hood-mould on head-stops. The building has C15 and blocked C17 windows. In the walls re-set stones from the priory.
To the NW of the church is the C14 gatehouse. This is of knapped flint. The wide arches are segment-headed, and there are a three-light and a two-light window above. Turrets at the inner, not the outer angles.

The ensemble of the priory ruins is very impressive, but largely amorphous: eroded cliffs of flint.

* Here a number of carved stones in the Early Renaissance style were found, and these no doubt are connected with the plan of the third Duke of Norfolk to convert the priory into a college and make it their Norfolk mausoleum. In the end, however, the monument to Henry Fitzroy, Duke of Richmond, son-in-law of the third Duke, was transferred to Framlingham in Suffolk, where the third Duke himself was also buried.

Thetford Priory (1)

Thetford Priory (8)

Thetford Priory (7)

THETFORD. A Norfolk heath, such as Old Crome painted and George Borrow loved to roam on, stretches away from it, so that this pleasant little town of five thousand people seems to have sprung up from the moorland. In the heart of it two rivers meet, the Thet and the Little Ouse, the Ouse bringing barges from the sea and leaving a small part of the town in Suffolk. It has an old, old tale, for it goes back to the days when the Church was great, to the days when the Normans came and built great churches, to the days when the Romans came and set up their defences, and to days long before that when the Ancient Briton sought security by throwing up vast mounds of earth with whatever primitive tools they could find, generally shoulder blades of oxen or antlers of deer. Far back in the mists of time lie the beginnings of Thetford.

What is called Thetford Castle is the great mound rising with acres of ramparts all round it, now a very pleasant place to walk in with trees rising from the hollows and crowning the hill. In ancient days this castle mound gave its owners command of the Icknield Way where it crosses two rivers. The land was ill-drained and largely primeval forest. The earthworks on the castle hill are the biggest defences of their kind in Norfolk. The mound rises 80 feet high and is 100 feet up the slope and 1000 round the base, where deep dry moats run between the remains of a double wall. From the top of the hill, now shaped like a crater, is a fine view over the red roofs of the town, and on the western side we see remains of ramparts and ditches known as the Red Castle and believed to be Roman. Something of an actual castle there must have been here in Norman days, for it is known that William de Warenne, who married the Conqueror’s daughter, was lord of the Castle of Thetford, but there is little to remind us of the secular power of Thetford and much to show that it must have been a famous centre of the Church.

At one tree-fringed corner of the town are impressive ruins of the old priory founded 800 years and more ago by Roger Bigod, and now under the control of the Office of Works. The shape of the priory church is outlined by parts of the lower walls, fragments towering up like pinnacles of rough flint; it is said to have been more than half as big as Norwich Cathedral, and to have had one noble tower rising from the middle of a cross and two others at the west end.

The excavations have revealed the floor of the transepts and the chapels and have uncovered the sacristy in which the monks would keep their treasures and the oven in which they would bake the sacred wafers. There are extensive remains of the chapter house, the cloister, and the buildings around, but these are mostly buried. Near the high altar have been brought to light a series of small figures rare among our medieval sculptures, and they suggest an elaborate reredos. Fragments of a tomb of English workmanship have been found in which the quality of the work is so fine that it is considered to be part of a very costly monument, probably set up not many years before the break up of the monasteries in 1540.

By the ruins of the priory stands the Tudor gateway, but most of the stones of the priory have been carried away for building What remains is beneath our feet, and among it lies the dust of powerful families of this countryside, Bigods, Mowbrays, and Howards.

The stones of Thetford speak of the days of its great fame, and remains of four ecclesiastical foundations besides the priory can be recognised. The oldest was a monastery south of the town, said to have been founded in 1020 in memory of a battle between King Edmund and the Danes. Its church has become a stable, and has an arch which led to a transept 700 years ago. Of the House of the Canons of the Holy Sepulchre, established in 1109 by William de Warenne, slight remains can be seen from the road to Brandon, and a fine thatched barn is believed to stand on the site of its church. Near the house called Ford Place, between Castle Lane and the river, are traces of the Austin Friary founded by John of Gaunt. By the boys’ grammar school stood Holy Trinity church, given by Henry, Duke of Lancaster, to a Dominican friary nearly six centuries ago, a fine arch from a transept being now built into the school.

Of the three 14th-century churches still remaining in use, the oldest is St Mary’s on the Suffolk side of the river. It is chiefly 15th century as we see it, with some Norman remains. The lofty tower has a soaring arch under which stands the Norman font and there is a simple Norman doorway leading to the vestry. What is left of the altar tomb of Sir Richard Fulmerstone now makes an alabaster wall monument; he was the benefactor of the town and founded the grammar school, living in Tudor days where Place Farm stands about the old Nunnery. The flint church of St Peter, in the heart of the town, has nothing older than the 14th century, and looks better outside than in; its tower was rebuilt in 1789. By the church is what is known as the King’s House because it is thought to have been King James’s hunting lodge. St Cuthbert’s is a medieval church which was entirely rebuilt after the falling of its tower in 1851, its north aisle belonging to our own century. One of the many windows which dim its interior shows a fine figure of St Cuthbert and is in memory of a missionary who was a choirboy here. Two windows glowing with rich colour are of the Nativity and Jesus in the workshop, and in a pretty blue window, with this church and Castle Hill for a background, we see Our Lord with a group of children of our time, one bringing a bunch of daisies, one with her skipping rope, and a little boy with his Teddy Bear.

A 15th-century black and white house in White Hart Street, with an overhanging storey and fine carving, has been known as the Ancient House and Museum since 1921, when it was given to the town by Prince Frederick Duleep Singh, who made his home in this countryside. Here we may see a fine collection of the Stone Age implements for which the countryside is famed. There are coins and medals, fossils and minerals, ancient pottery, and many books, papers, and pictures concerning Thetford’s great folk. We may see more of these in the Council Room of the 20th-century Guildhall, which has a fine collection of 90 portraits of members of Norfolk and Suffolk families bequeathed by Prince Frederick Duleep Singh. Here also is the corporation regalia, with two silver maces bearing the arms of England and two gifts of 1678, a splendid sword and a mace that is among the finest in the country. By the guildhall is the Lock-up Cage, with the iron grille through which we see the ancient stocks. The oldest of the many inns in Thetford is the Bell, opposite St Peter’s church. Some of it may be part of an inn belonging to the Guild of St Mary in the 15th century, and in one of the rooms there are wall paintings discovered in our time and now preserved under a glass panel. The Dolphin Inn is 17th century, and facing the Ancient House is a dwelling which was famous as the White Hart Inn in coaching days. There is a small group of 17th-century almshouses founded by Sir Charles Harbord.

Thetford is famous not only for its Castle Hill, its priory, and its ancient ecclesiastical dignities, but for its grammar school, which is one of the oldest in England, having sprung from a school originally founded in the seventh century. Its modern foundation dates from 20 years before the Spanish Armada, and it was reconstructed 300 years later, in 1876. Associated with it is a grammar school for girls which has celebrated its jubilee and has a fine record as one of the best schools of its kind.
One of the boys passing through this school so lived in after life that his school can hardly be proud of him. He was Sir Robert Wright, Thetford born, who died in 1689. He grew up to be a companion of the infamous Judge Jeffreys, and was his colleague in the great butchery assizes after Sedgemoor. He was a man of great courage and boldness, and one of the judges of the Seven Bishops, agreeing with their acquittal. He once fined the Earl of Devonshire £30,000 for assaulting Thomas Culpepper in the king’s presence, saying that such a thing was next-door to pulling the king off his throne. As a partisan of James the Second after his flight he was imprisoned in Newgate, and died of fever in his cell.

Thetford’s more famous son was born in the century after him, and the house he was born in is now part of Grey Gables at the top of White Hart Street. We found the people of Thetford considering some memorial to this remarkable man, Thomas Paine the Radical.

Tom Paine the Renegade.

THETFORD probably feels no pride in Thomas Paine, whose name was familiar to the whole English-reading world a century and a quarter since, but no other of its sons has had such a strange, eventful history.

He was born in 1737, his father being a Quaker. Thomas, too, was in youth a Quaker. He took a boyish turn at seafaring, then became an excise officer and was discharged for neglect of duty, and after work as an usher he secured another post as exciseman, but lost it again on the ground of absence from duty.

An interest in science brought him in contact with Benjamin Franklin, who provided him with letters of introduction to friends in Philadelphia, and he emigrated there. He found work on a magazine and was soon its editor. Four months later hostilities began between the Colonies and the Mother Country and Paine circulated in the next year 120,000 copies of a pamphlet called Commonsense, advocating the immediate formation of a Republic with complete independence. He also joined up against his country, wrote stimulating appeals to hearten its opponents, and became secretary of the Committee of Foreign Affairs.

For his services, which he himself claimed were as important as those of George Washington, he received, besides money payments, the forfeited estate of a landowner who had been loyal to England. After the war he returned to Europe with a model of an iron bridge he had invented, but nothing came of that. Then he began to write against the war policy of Pitt. The Government left him alone until he answered Edmund Burke’s Reflections on the Revolution in France by his book on The Rights of Man, which was received with frantic delight in France. Then he was indicted for treason. He, however, escaped to France, where he was elected to the French Convention, while England made him an outlaw.

Still acting as a self-appointed adviser of nations, he sensibly suggested that, instead of killing their king, and so alienating American sympathy, France had better imprison Louis during the revolutionary war and then perpetually banish him. This displeased Robespierre, who threw him into prison and put his name on the list for the guillotine, his life being saved only by the fact that when his turn for beheadal came he was lying unconscious with fever. When Robespierre fell Paine was released.

It was at this time that he wrote his Age of Reason, and he also wrote a bitter attack on Washington. When he returned to America he found that his popularity had waned. His Age of Reason and his attack on Washington were deeply resented, and in the last seven years of his life he lost his self-respect and his social standing. William Cobbett, who had been one of his stoutest opponents, brought his neglected bones to England from New Rochelle, where his estate was, and where they had been buried.

Tom Paine was an attractive writer. His style was direct, clear, and incisive. Essentially he was an advocate-seeing only one side of a subject and using the method of attack against those who saw other sides. The positions he so hotly attacked are not held by 20th-century Christian intelligence. Possibly he helped to clear away some rubbish of ignorance and error, but his way of doing it was crude and offensive. He was a clever self made man, but at every stage in his life he fell into failure. He had no sensitiveness and no inherent taste. America took him up and dropped him. France took him up and dropped him. He dropped his own country, and no reason is  known for his doing it. He was the completest specimen of that rare creature, a renegade Englishman.

Croxton, Norfolk

All Saints, locked, keyholders listed...except they're not because the telephone numbers don't include the area code so this should read - All Saints, locked. That being said the notice also notes that "the church will be open every Saturday from March to November between 10am and 4pm" so that's all right then. If I was to be brutally honest I think I'd say that apart from the tower there's little of interest here.

ALL SAINTS. Round tower with polygonal top stage perhaps of the C14 and a short slated spire. Chancel with an early C13 priest’s doorway. Slightly pointed, one slight chamfer, hood-mould with dog-tooth. The N and S windows of the chancel and nave point to c.1300, but are renewed or new. E window of three lights Dec. E buttresses with flushwork decoration. S aisle of the C14, see the three-bay arcade. Octagonal piers, double-chamfered arches. The chancel arch goes with the arcade. Early Tudor clerestory faced with knapped flint. Good hammerbeam roof inside. - FONTS. One is big, octagonal, Perp, and may originally have had reliefs of the Seven Sacraments (Cautley). The other is a modest wooden C18 baluster. - PLATE. Chalice, undated, probably Georgian.

All Saints (5)

Priest's door (1)

Cross

Bizarrely [?] another one Mee missed.

Kilverstone, Norfolk

St Andrew, locked, keyholders listed, is a delightful round towered building and its setting is charming. Peering through the windows I could only see the stained glass Pevsner mentions and so decided that there probably wasn't enough interest inside to warrant tracking a key down. This I think, with hindsight and a read up on the Norfolk Churches site, was a mistake.

ST ANDREW. Sturdy round tower with Norman windows. Late Norman S doorway. One order of shafts with volute capitals. The arch has a zigzag moulding at r. angles to the wall surface. The church is small and aisleless, but must once have had a N aisle. - ROYAL ARMS. 1716; handsome. - STAINED GLASS. An attractive window of 1908 in the Selwyn Image style (nave S).

St Andrew (1)

Through a glass darkly (3)

Gargoyle (1)

KILVERSTONE. It is only small, but is all delightful in its seclusion, reached by a lane of stately trees. A group of four gabled dwellings under one roof stands by the green, on which is a fine maple by a fountain and a shelter. It is the village peace memorial, and on it are the words:

There is some corner of a foreign field
that is for ever England.
The grief that lingers and the pride that burns,
All that love means and honour can express.

From this green a grassy track leads down to the small church where Admiral Lord Fisher was buried with his wife. It looks across to the gabled house, and has a charming outlook over the meadows. Lord Fisher died in 1920, known to all the world, and his story is written in the annals of the British Navy. He served as a cadet in the Baltic Fleet during the Crimean War; he lived to nominate Admiral Jellicoe to command the British Fleet in the Great War. From the war which was a great blunder to the war which was a universal catastrophe he served his country well. To his vision and grasp of essentials he joined a burning patriotism and an undying belief in the destiny of our race; but he was a difficult man and resigned in a crisis during the war. He rests at Kilverstone, where he has a memorial carved with three of his orders and his arms.

A beautiful lychgate with dormer windows in its shingled roof has a cornice of vines under its eaves and squirrels eating acorns in the spandrels of its arches. That is 20th century, but the trim little church to which the lychgate leads us has a story and something to show of about a thousand years ago. Its round tower was perhaps built by the Saxons, though its battlements are 15th century. A fine little Norman doorway, 3 feet wide and 7 high, its arch of roll and zigzag mouldings resting on pillars with carved capitals, leads us inside, where restoration has given a new look to the 14th-century nave and the 15th-century chancel. But there is beauty in the modern work.

Lovely glass glows richly in a window, showing a priest, a labourer, and two mothers with children. The reredos of stone and marble has a mosaic head of the Good Shepherd with a sheep on his shoulder. The oak pulpit has carving and a panel showing Christ ascending with cherubs round Him and two disciples at His feet. At the foot of the pulpit stair rail, on the ends of the choir seats, and on a chair in the sanctuary, kneel musical and praying angels.

Riddlesworth, Norfolk

St Nicholas, locked, keyholders listed [but with the proviso that immediate access cannot be guaranteed - so I didn't bother] is a perfectly pleasant church and you'd never find it unless you'd specifically researched it. So why it's locked is a mystery. Simon Knott posits that it's because Princess Diana went to school here and it's locked to prevent trophy hunters stripping it bare. Whatever the reason I would have liked to have seen Drue Drury's monument [he's my 12th x great grandfather].

ST PETER. W tower of c.1300 with a tall doorway from the S. Nave and chancel, the windows all renewed. - PULPIT. From Knettishall, Jacobean, with back-panel and tester. - COMMUNION RAIL. With twisted balusters; late C17. - FONT COVER. Jacobean or later; plain. - PAINTINGS. Two restored panels from a screen (Saints) in the chancel panelling. - PLATE. Norwich-made Chalice of 1567-8 and Paten of 1640. - MONUMENT. Sir Drue Drury d. 1617. Very good tablet with kneeling knight and two splendidly Mannerist angels in long garments holding a curtain open.

St Peter (2)

Mee missed it.

Gasthorpe, Norfolk

St Nicholas is in ruins - it seems just the tower survives - situated rather romantically amidst a wood. Normally I would have walked the half mile or so to get a closer look but I was feeling lazy so got the telephoto out instead.

ST NICHOLAS. In ruins. A large fragment of the W tower remains. The rest all smothered in ivy. The chancel had flushwork battlements with initials. The chancel windows with ogee-headed lights seem to be of the C14.

St Nicholas (2)

Mee missed it [he also missed Riddlesworth, Croxton and Santon Warren].

South Lopham, Norfolk

St Andrew, open, is an astonishment - a truly superb Norman, and massive, tower, some very good poppyheads and a Saxon round window. It is exceptionally good.

ST ANDREW. South Lopham has the most powerful Norman tower of any Norfolk parish church. It is a central tower, and it is, to judge by its detail, no later than 1120, and perhaps earlier. It stands on a W and an E arch with strong shafts and low, broad block (not scallop) capitals and has one strong roll moulding in the arch. There are shallow N and S wall-arches too, and they may or may not indicate the existence or the intention of transepts. The former is unlikely considering the small S doorway set in the wall here no later than c.1200 and the lancet in the N wall. Externally the tower of South Lopham has four arched and decorated stages, but all the decoration is elementary. On the N side an oblong stair-turret runs up, completely undecorated. The arching is on the first stage simply two large arches with a pillar between, and they occur only on the N and S. There follow an arcade of three plus three smaller arches with single-scallop capitals and a middle pillar, then a two-light window, and above that the two-light bell-openings. The details can all be compared with the work of Losinga’s time at Norwich Cathedral, i.e. before 1120. The top is Perp flushwork-panelled battlements. The nave has Norman evidence too, the chancel has not. In the nave, N doorway with one order of shafts and zigzag in the arch, i.e. later than the central tower. But the final surprise of South Lopham is that to the W of that doorway there is, in the usual position fairly high up, a circular, unmistakably Anglo-Saxon window. So the central tower was added to a Saxon church of some size. The chancel is Dec, whether one can trust the renewed E window or not. The S aisle also must be Dec; see its windows and the four-bay arcade of roughly quatrefoiled piers with the lobes to nave and aisles having broad fillets, left without capitals (though the abaci take them in) and carrying arches with one hollow chamfer and one sunk wave. For the dating of the Dec parts Cox points to the record that Nicolas de Horton, rector from 1361 to 1380, was responsible for the chancel. That would give a remarkably late date for the survival of purely Dec forms, yet cannot be discounted. Big Perp W window, and prominent Perp clerestory of knapped flint with brick in the arches of the windows and lettered flushwork panels between the windows. Simple hammerbeam roof in the nave. In the chancel, roof of very low pitch with tie-beams on arched braces. - FONT. Octagonal, with very delicately cut, shallow tracery (cf. North Lopham). - BENCHES. The ends carry blank tracery. In one end a small standing female figure. Figures of animals and also a young man on the top instead of poppy-heads. - CHEST. A dug-out, 8 ft long, upstairs in the tower. - PLATE. Chalice (Norwich) 1567-8; Elizabethan Paten.

Tower (1)

Poppyhead (12)

Benchend (2)

SOUTH LOPHAM. Its supreme possession is its Norman tower, the gift of a lord of Lopham who went down in one of the bitterest tragedies which ever cast a shadow round our throne, the sinking of the White Ship with the son of Henry the First on board as he was returning to England in his father’s hour of triumph. The village is charming, with an old forge, thatched roofs, and a pretty row of cottages facing the green. A road through fenland and over a common glorified with gorse, silver birch, and rushes brings us to the source of two rivers, the Little Ouse and the Waveney. They begin their journeys as rush-filled streams on each side of the road, and one flows west and the other east, dividing Norfolk and Suffolk.

Not only is William Bigod’s tower the glory of this village church, but it is the best example of Norman architecture in the county except for the cathedral itself. Built about 1110, it rises massive and magnificent from the middle of the flint-walled church, dwarfing the churchyard firs, and four of its five tapering stories are ringed with Norman arcading. There is a Norman doorway in the nave, and high up in the wall is a small round window deeply splayed, certainly Saxon and perhaps the work of the 10th-century builders. The rest of the church is mostly 14th century, but the porch and some of the fine windows are 15th. The clerestory windows of this time are on both sides of the nave, though there is now only one aisle, with its arches on clustered pillars. The roof has small hammerbeams and carving of Tudor flowers.

In the gallery of 15th-century carvings on old benches in the tower is a strange beaked animal with a castle on its back, a headless pelican with her young, winged animals, a seated figure in a veil, an animal sitting with another in its mouth, and a woman with a knife and a shoe. Parts of the medieval oak screen are now at each side of the east window. The font is old and has a Jacobean cover; the old chalice and paten were made by a Dutch craftsman, and the dug-out chest is a marvel, shaped out of a huge block of oak ages ago, eight feet long and probably as old as William Bigod’s tower.

The White Ship

WILLIAM BIGOD, who was among the three hundred souls who laughed and sang in the White Ship as she set sail from Normandy one November night in 1120, belonged to the famous family that had risen in a generation from the status of poor knights in Normandy to the possession of wide lands in England.

It was no cockleboat in which the son of Henry the First and his hilarious companions accompanied the king and the fleet, but a new vessel, propelled by the sweeps of fifty oarsmen. The high-spirited passengers had stayed ashore roystering long after the departure of the king, spurning with jests the priest who approached the ship to pronounce a benediction.

At last they swept out of the harbour, with a drunken pilot to steer them. Suddenly came a crash and a rending; the White Ship had been driven on to a rock and her side torn open. One terrible cry was heard by the fleet; then all was silence.

When the appalling news reached the king he swooned, and, as history tells us, he never smiled again. He was now left without a son, and so made the barons swear allegiance to his daughter Maud. There was, however, an heir to the Norfolk estates in Hugh Bigod, as consummate a villain as those lawless days produced.

Hugh Bigod hastened from the royal deathbed to declare that Henry had at the end disinherited Maud and appointed Stephen of Blois to succeed him. If pretext was needed, here was one for the long struggle by which England was torn in two. Hugh Bigod established something in the nature of a record by his treachery and his repeated passing from one side to the other as opportunity and advantage served.

However, he died in his bed, as hosts of his victims did not, and he was followed by a son who helped to wring Magna Carta from the wretched and reluctant King John.


Monday, 29 October 2018

Garboldisham, Norfolk

I think that if it were not for the superb Powell & Sons glass I would regard St John the Baptist, open, as being a fairly run of the mill interior, there's plenty of interest but it's all a bit humdrum. The exterior and the location are, however, excellent.

Just up the road are the remains of the ruined All Saints.

ST JOHN IN BAPTIST. Early C14 aisle windows and doorways and chancel arch. The rest Perp. W tower with small chequer pattern of knapped flint and stone. Flushwork emblems on a base frieze. Buttresses with flushwork panelling and emblems. Tall battlements with flushwork panelling. Four pinnacles and four angels instead of subsidiary pinnacles. The tower originally had a W porch ). N porch with large inscription commemorating William Pece* and others invoking Christ, St John Baptist, Zachary, Elizabeth, and Johannes again. Niches l. and r. of the entrance. The chancel is mostly new. The interior is earlier than any part of the exterior. Arcades of four bays with circular and octagonal piers. The arches have two hollow chamfers and differ slightly. The date is most probably still in the C13. - FONT. Octagonal, with square panels with a roll moulding as a frame; C13? - SCREENS. In the N aisle. Only the base with four painted Saints is original C15 work. Rood screen, also only the base. - BENCH ENDS. Some are old. - STAINED GLASS. In the chancel, by Powell’s, of the 1880s, quite good. - PLATE. Two Almsdishes, inscribed 1738.

ALL SAINTS, 1/2m. N. Ruined. But the tower stands nearly to the top, its E wall broken off.

* Chaplain c.1500.

J Powell & Sons SSS Elizabeth of Hungary, Francis & Dorothy c1932 Baptistry window (17)

J Powell & Sons St Michael S aisle W window (7)

N chapel screen (2)

GARBOLDISHAM. Its ancient tale is told by burial mounds round about, and by the earthwork known as Devil’s Ditch, running across a heath fascinating for its dark firs and its clusters of silver birch. The village is part of a wooded countryside in the valley of the Little Ouse, and dotted about its ways are houses great and small, with thatched and pantiled roofs. Not far from the 19th-century manor is the lovely Jacobean hall with a fine background of trees and one enormous chestnut.

The 14th and 15th-century flint church stands proudly on a bank at one end of the village, its stately 500-year-old tower crowned with patterned battlements, corner pinnacles, and weatherbeaten angels. The porch, built about 1500, has beautiful modern gates. From the steps of the sanctuary we see the spacious beauty of the rest of the church, where lofty arcades divide the clerestoried nave from its aisles, and a still loftier arch leads to the tower. Many ends of 15th-century seats with fleur-de-lys poppyheads are attached to new benches in the north aisle, and the rest of the seats are copied from them. Three Jacobean relics are a chest, a desk, and an altar table. The oak screen across the chapel, with a modern top of fine tracery and old panels with paintings of two bishops and two women saints, was restored as a thankoffering for 25 years of happiness. The bowl of an old font lies by the new one, and with it are old stones from a church pulled down 200 years ago.

Richly coloured modern glass shows Our Lord with the lame and the blind, and the Madonna and Child between musical angels. One window, with a saint standing in bluebells and columbines, glows in memory of a major who left the peace of the old hall here to die fighting in France in 1916; and an inscription tells of another hero, Arthur Atkins, who went down with HMS Indefatigable at Jutland.


Wednesday, 17 October 2018

Pakenham, Suffolk

St Mary, open, is, in my limited experience, unusual for Suffolk in that it is a cruciform building - I've not seen one in the county before. It is mostly Victorian rebuild and very over restored, so much so that I thought the font was Victorian when it turns out to be original but re-cut, but is still a fascinating building.

ST MARY. A church with long transepts and crossing tower, something decidedly rare in Suffolk. It is true that only the S transept was built - and re-built in 1849 — and that the N transept was added at that time (by Teulon). The transepts and chancel are E.E., late c 13 (see the window shapes). The upper part of the tower is C14 and turns octagonal. Several survivals of the preceding Norman church, namely the W and S doorways (one order of shafts, scalloped capitals, heavy roll moulding) and the chancel arch (nook-shafts, saltire crosses in the abacus, moulded arch with one hollow and one half-roll). There was another such arch at the E end of the nave which was altered in 1849. So the Norman church was of the type with nave, central space, and chancel. The nave has two windows with plate tracery. - FONT. Exceptionally good Perp piece. Four seated figures against the stem (somewhat re-cut about 1850?), against the bowl the Signs of the four Evangelists, a dragon with a cross-shaft, a lamb, a unicorn, a pelican. - STALLS. Simple, with poppy-heads. - SCREEN. Simple, and not all original. - COMMUNION RAIL. With twisted balusters, late C17. - PLATE. Cup 1566; Cup and Paten 1817.

Font (2)

Thomas Discipline arms

West door

PAKENHAM. The Stone Age men made here a camp, the Romans had a villa, the Normans built the church on the hill. Nether Hall was built in Queen Anne’s day and is famous for its staircase. In the churchyard is a stone coffin where Walter the Norman builder may have been laid to rest, but he has the church for his memorial. His tower is here, with three arches to the nave and aisles, much of his nave, the chancel arch, and a doorway under the west window. For three centuries after him other builders added to his work, putting here a window and in the tower a belfry.

In front of us as we enter is a superb 14th century font, with sculptured monks to guard its base, its panels filled with the lion, the pelican, the lamb, the unicorn, and the symbols of the Evangelists. The slender pinnacles and buttresses and the bright heraldic shields of a new oak cover rise beautifully above it. By the side of the 13th century chancel, below the Norman arch, is a doorway for the priest with old tombstones standing by it. In the oak screen, with painted shields, 14th century work is mingled with the new, the altar rails are Jacobean, and by the altar is an old chest hollowed from a tree trunk. The roof is painted. An old pew with strange faces for poppyheads stands by the chancel.

Over the priest’s doorway is a lancet with fragments of old glass from the east window, now filled with a modern scene of Christ enthroned among the angels, with the Nativity below. Two other modern windows of the Good Shepherd and the Light of the World are in memory of a curate who was here for 56 years.

Ixworth, Suffolk

I'm afraid St Mary, open, has left very little impression. I liked the exterior and remember it as a large church but of the interior I only really remember that it's highly restored and therefore rather spartan and that there's some good glass in the chancel.

ST MARY. Dec chancel, almost entirely rebuilt. Dec W windows in the aisles, Dec doorway in the S aisle. All the rest Perp. Big W tower with flushwork frieze at the base and flushwork frieze at the top. Flushwork panelled battlements. On the SE buttress panel with the name of Abbot Schot of Bury St Edmunds, that is of 1470-3; also by the W door a tile with inscription: ‘Thome Vyal gaf to the stepil iii £.’ His will is of 1472. Money for the leading of the roof was left in 1533.* - SCREEN. Only the dado remains. - MONUMENT. Richard Codington d. 1567  and wife. Tomb-chest with decorated pilasters and three shields. At the back round arch with exceptionally fine Italian leaf carving. Against the back wall brass effigies. The inscription records that Richard Codington was granted the manor of Ixworth after the Dissolution of the Abbey in exchange for Codington in Surrey, then re-named Nonesuch. The grant was indeed made in 1538.

* The C18 antiquarian Tom Martin noted at the lower part of the S side of the steeple an inscription on a glazed brick to William Dense, Prior of Ixworth from 1467 to c. 1484. Wills of 1458 and 1471 give money to the chancel and to the tower, respectively (ARA).

Richard Codington 1567 (2)

Boldero arms

Grotesque (2)

IXWORTH. We come to it through pleasant lanes well known to Suffolk’s country poet Robert Bloomfield, who got his little learning and a few months of schooling here, charging his mind with rural scenes which were to come back to him in a London garret and take shape in his famous poem, The Farmer’s Boy.

We pass a watermill on the way and a little round house from the centre of whose thatched roof rises a tall twisted chimney; and we come upon many old houses, one of the most ancient being an inn which was housing wayfarers more than 400 years ago. A more notable relic of antiquity forms part of Ixworth Abbey, a charming modern house on the site of a Norman priory. The old crypt, which has a vaulted roof on massive pillars, carved soon after the Battle of Hastings, is now the hall of the house. In the foundations of the priory were discovered a century ago a body wrapped in a lead shroud, and the remains of a furnace for melting lead. Here is still the coffin stone of an early prior, with two Norman coffins.

Separated from the rectory by the Blackbourne stream, the 14th century flint church is shaded by fine trees, above which rises the tower built by a 15th century abbot of Bury St Edmunds, its parapet and its buttresses adorned with the wheel of St Catherine, the arms of Bury Abbey, and other devices. Old corbels carry the roof of the porch.

The chief feature of the church is the elaborate 16th century canopied tomb of Richard Codington and his wife, whose portrait brasses show them in Tudor costume, with their two children. Two men from Ixworth Abbey, master and servant, are remembered as faithful unto death: a bronze tablet to General Cartwright, who during the Great War was five times mentioned in despatches and awarded the DSO, and one who served him here, William Drake, carpenter at the Abbey for 45 years. The church has a 14th century font, the doorway and stairs of the rood loft, and much of the 15th century hammer-beam nave roof. There is an oak screen in the chancel, an oak pulpit supported by two angels, and an old ironbound almsbox.


Tuesday, 16 October 2018

Ixworth Thorpe, Suffolk

I drove past All Saints, locked, no keyholder listed, twice before I finally spotted it, so why it's LNK eludes me. This is more annoying than usual for, having peeked through the windows, it contains some very fine bench ends. To rub salt in to the wound I had a look at Simon Knott's Flickr entry.

ALL SAINTS. Outside the village; small and thatched. Weather-boarded bell-turret, nave and chancel. Norman S doorway, very plain. Good brick S porch with stepped gable, and battlements decorated with motifs in flint and brick. Chancel with lancets. In the nave some Dec windows. (The E window has wooden tracery. LG) - PULPIT. Jacobean. - BENCHES. The ends with poppy-heads, the arms with animals and figures, including a mermaid. - COMMUNION RAIL. Three-sided, with late C17 turned balusters. - PLATE. Cup 1676; Paten and Flagon 1678. - MONUMENT. Tablet to John Croft d. 1644. The tablet is called in the inscription ‘Marmoriolum hoc’.

All Saints (3)

IXWORTH THORPE. A tiny place in Robert Bloomfield's country, its lonely church has been here 700 years and has windows from all the great building centuries. Its roof is thatched, and its little tower, beginning in stones and flints, has patches of brick, and ends with a wooden belfry. The doorway for the priest was in use soon after Magna Carta; and just as old is the step of the porch, for it is a coffin lid of those days. The porch has flint ornament on its battlements, old beams, and wooden seats; but the oldest thing on this hilltop is the doorway itself, very small and low and in the simple Norman style. A piscina is nearly as old, and the pulpit and the font cover are Jacobean; but the surprise of the village is its fine little collection of bench-ends carved by a craftsman of 500 years ago to make a wooden zoo. There are 28 of them, dogs and birds, a monkey, a unicorn, a lion, a griffin, and a cat. Some are human, and here we see a mermaid looking into her glass, a jolly little man with a flat cap, and a lady taking her lap-dog for a walk.


Bardwell, Suffolk

SS Peter & Paul, open, is huge and almost impossible to photograph externally - it sits in a smallish, relatively, tree filled churchyard. Truth be told the interior has been massively over restored and as a result is rather aseptic. The best features are the two magnificent medieval nave windows, both full of medieval glass [sadly most of my photographs were crap and had to be deleted, the light was against me] and the wallpaintings. I also found connections to previously unknown distant family members in the Crofts and Read/e memorials.

Speaking of which, when Simon Knott visited in 2008 he recorded the seven children mentioned by Pevsner:

melancholy

Ten years later the boys have disappeared:

Thomas Read 1652 (2)

An oddly out of place building and overly air brushed but for all that magnificent. As a last thought this is the most distant Hertfordshire spike I've seen to date.

ST PETER AND ST PAUL. The biggest church in this neighbourhood. Tall Perp W tower with spike. Fine, tall Perp S porch with the arms of Sir William Berdewell who died in 1434.* Good flushwork decoration, chequerboard and panelling. Entrance with two orders of fleurons. Three niches around it. Side windows with fine tracery. Lofty nave with tall two-light Dec windows. Chancel of 1553. Excellent hammerbeam roof. Thin arched braces. Arched braces also below the ridge. No collar-beams. Of the angel figures which originally held the roof only four remain, one with the date 1421 on the opened pages of a book. Original colouring, including the charming trails on the rafters. - SCREEN. Four panels of a finely traceried dado. - STAINED GLASS. Three kneeling early C15 figures, the largest no doubt Sir William Berdewell. Also some C15 figures, including a German Pieta. - The chancel windows are by O’C0nnor, with dates in the 1860s. - PLATE. Two Cups and a Paten 1650; two Flagons 1678. - MONUMENT. Thomas Read and wife, dated 1652. Kneeling figures facing each other. In the ‘predella' seven children, one lying on its side, two next to it forming a pretty little group.

* A will of 1460 leaves 2s to the repair of the porch (ARA).

Thomas Read 1652 (1)

Wallpainting (2)

C15th glass (9)

BARDWELL. We can see its church from Ixworth Thorpe, and its old houses and fine trees make a pleasant picture by the spacious Green. There is a bridge over the Blackbourne stream, an old watermill on the foundation of one mentioned in Domesday Book, and a windmill that has lost its sails. Here too are the broken walls of a ruined house built a century before Agincourt, the home of the Bardwells, whose joy it was to enrich the church. Wyken Hall in its park of 100 acres is mostly modern, but fragments of it are thought to be 13th century; and on the road to Ixworth is a gabled Tudor house, Bardwell Hall, with black bricks patterning its walls and twisted chimneys. It contains an ancient chapel.

Rather quaint is a gracious old building now used as almshouses, but once the Guildhall built by the Guild of St Peter in the 15th century. It is an old friend of the church on a little hill a stone’s throw away, one of the noblest churches to be seen for miles, with flint walls strengthened by fine buttresses, a handsome west door, and a great tower of which any village might be proud. It is crowned by a rather foolish little spire, the only undignified thing about it.

Remarkable even among the famous porches of Suffolk is the porch Sir William Bardwell built here more than 500 years ago, its walls imposing with stone panels filled by flints, its arch enriched by three fine niches and the arms of the builder. It is the rare work of a mason who may also have helped to build the porch at Honington, and is a splendid shelter for a grand old door. There is a big chancel arch with a peephole on each side, and a door to the rood stairs; but the things Bardwell cherishes most are in the imposing nave, with its ten lofty and finely traceried windows. They are the roof, the glass in the windows, and the old pictures under plaster on the walls.

The magnificent hammerbeam roof was the gift of Sir William Bardwell a year or two after Agincourt, and though many of its splendid angels have gone, a few are still here, one of them with an open book showing the date 1421, when the work was done. The great wooden beams rest on queer stone faces, and the rich carving must have delighted Sir William whenever he came to pray.

We see the sort of man he was in a window in the north wall, where a portrait shows him kneeling on a stool, his bare head ornamented with a chaplet. He has a moustache and a long beard, and is in armour with golden spurs. His sword is at his side, and hanging on the wall near by is the actual sword he carried when riding at the head of his company of archers. Among other fragments of old glass are portraits of the Drurys, a knight and his wife, he in armour and she in a short coat, a gown of white and gold, and a long purple train. Above are shields of great Suffolk families, their brilliant colours beautiful indeed. The 15th century glass in the west window includes birds and fruit and a Madonna with Our Lord.

The invisible treasures of Bardwell, its priceless old pictures on the nave walls, were seen for a little while in 1853 and then covered over again with plaster. Among them are a curious picture of the King of Terrors, a Last Judgment, and a St Christopher, painted about 1500. Three 14th century scenes show minstrels, the deadly sins, and the story of St Catherine.

Among many memories of the Reades in this place is a lovely monument in alabaster showing Thomas Reade of 1657 and his wife, kneeling at an altar with a white cloth heavily fringed. Surely carved by one who knew them in life, they have beautiful smiling faces; and just as lovely are their six children below - two little girls holding hands, their baby sister fast asleep, and others at a prayer desk holding red roses.

Flickr.

Monday, 15 October 2018

Honington, Suffolk

I found All Saints open but a funeral service had just been held so it may not always be so. That said, however, three of the next churches were open so I've listed it as open. I need to revisit anyway as somehow I missed the poppyheads in the chancel. This is a gem of a church, even if the interior is a little stark, and the font, porch and Norman south door are outstanding.

I've now done a revisit and it is indeed open.

ALL SAINTS. Norman S doorway with two orders of shafts. They are decorated with zigzag, and the r. one in addition with three square blocks or bands, also decorated. Hood-moulds on beasts heads. Norman chancel arch. Imposts with nook-shafts, simple, all well preserved. The S side of the nave seems early C14, the N side remodelled Perp. Dec W tower with a stair-turret of brick. Dec chancel. Perp S porch with flushwork panelling; initials etc. Entrance with shields and leaf-motifs. Three niches above the entrance. - FONT. Octagonal, Dec. Panelled stem. On the bowl Dec tracery including three blank rose windows (one High Gothic, one with six mouchettes), and a Crucifixion. - BENCHES. With poppy-heads, and animals in the arms. - WALL PAINTINGS. On the S wall, very faint. Described as Martyrdom of St Thomas Becket and Legend of St Nicholas *.- PLATE. Elizabethan Cup; Flagon 1735. - (MONUMENT. Robert Rushbrooke d. 1753. Simple, but with exquisite italic lettering.)

* No longer extant.


Font (2)


S porch

S door (2)

HONINGTON. With miles of woods and meadows round about, and elms and willows by the Blackbourne stream, it is a gracious little place of which all Suffolk is proud, for it gave England a farmer’s boy who wrote a poem which has been read for over a century.

There are two things to see in this hollow where life goes slowly by, a cottage birthplace, and a charming little church whose simple tower with a quaint stair turret watches over fields and lanes that the village poet loved. The splendid medieval porch has panels of flint, a beautiful parapet enriched with monograms, and an archway under graceful niches; and in it is a Norman doorway with two pairs of ornamented shafts and a stone face.

The interior of the church has not the charm of unplastered walls, but the 14th century chancel has an exquisite piscina, and there is a Norman chancel arch only about six feet wide. Among some traces of old paintings are a Madonna and child, and figures of knights in armour, all fading away on the walls. The font was carved six centuries ago and is remarkable for its bold ornaments and a panel of the Crucifixion with figures of Mary and John. There are bench-ends with fine poppyheads and very queer carvings of a monkey, a man with bagpipes, and a dog scratching itself; and one of the best possessions of all is a brass portrait of George Duke wearing the embroidered doublet and ruff of which he must have been very proud in Elizabethan England.

But of nothing is the village itself more proud than of its poet, Robert Bloomfield, to whom there is an inscription in the nave. The cottage where he was born in 1766 is close to the church, though the rebuilding of it some years ago has left little of a home Suffolk should have kept. It is not certain which room Robert was born in, but we can see the garden where he played as a little fellow, and the fields going down to the river he loved all his life. He never forgot the charms of Honington, where his mother had kept the village school, and from where he had set off to work on William Austin’s farm at Sapiston; and when his Farmer’s Boy poem made him famous he came back to look at these scenes of his childhood. Some of his love of this place came out when he wrote:

My heart was roused, and Fancy on the wing
Thus heard the language of enchanting spring:
“Come to thy native groves and fruitful fields!
Thou knowest the fragrance that the wildflower yields:
Inhale the breeze that bends the purple bud
And play along the margin of the wood.”

His success was only shortlived, and he died in poverty at Shefford in Bedfordshire, sleeping at Campton in that county.

Fakenham Magna, Suffolk

I always think you can tell a lot about a church's open status by the state of its notice board and gates [if any]. Here at St Peter, locked, no keyholder, the notice board is dilapidated and the gate broken, so I was fairly sure I'd find it locked but was disappointed nevertheless. In general it felt unloved and uncared for.

ST PETER. The E angles of the nave with long and short work prove the Saxon origin of this part of the church. Norman one blocked N and one blocked S window, the latter just W of the porch gable. In the chancel a pair of C13 lancet windows. W tower, nave windows, and most chancel windows Dec. - SCREEN. Much restored; with one-Light divisions. - PLATE. Cup 1629; Paten 1703.

St Peter (1)

FAKENHAM MAGNA. It should be the last place in England to have a ghost story, but it has one with a very pleasant ending. Tucked away near Euston Park among some of the finest woods in Suffolk, it has a stream with a tiny bridge from which we get the best view of its thatched cottages and its church with a grey tower where a bell has been ringing since Queen Elizabeth’s time.

It is a simple church, but so old that there are still fragments of Saxon work in the chancel. There are two little Norman windows in walls mostly 13th and 14th century, fine buttresses with canopies, a porch with an ancient stoup, and a door notable for its long hinges and a remarkable knocker - rather like the face Scrooge saw on Christmas Eve. The chancel has an ancient piscina, and a 15th century screen restored with new faces to watch over the old woodwork below. The font has been in use since the time when Chaucer was a child. Some fragments of old glass show angels and frogs and a demon ; and among the memorials is one to the Taylors of Henry the Eighth’s day.

Facing the church is the thatched cottage where Robert Bloomfield’s mother was born. We know from his poems that Robert Bloomfield often came to Fakenham, and we think it must have been from his mother that he first heard the tale of the Fakenham ghost, the story of a woman who was crossing Euston Park one night when she heard something behind her and ran home too terrified to look round at the dreadful shape. They say she fainted when she reached her doorstep; yet the poor ghost was nothing more than an ass’s foal, and the end of the tale is told in one of Bloomfield’s poems:

No goblin he, no imp of sin,
No crimes has ever known;
They took the shaggy stranger in
And reared him as their own.
His little hoofs would rattle round
Upon the cottage floor;
The matron learned to love the sound
That frightened her before
.