Saint Mary’s

Wherstead

Suffolk

Brief History and Guide

WELCOME to this ancient and interesting church, which has stood for 900 years on its knoll overlooking the beautiful Orwell valley. We hope that you will enjoy its great charm and atmosphere, and above all we hope that you will feel at home here, because St. Mary’s is not just an ancient building, but is a living center for Christian worship – the purpose for which it was built. It is our Father’s House, and that is why the people of this tiny community cherish and care for it as they do. It is a place where people of all faiths or of none may find peace and inspiration and where Christians, whoever or whatever they are, can look upon as “Home”.

WHERSTEAD is a scattered parish, its main center of population being along the village street, through which we travel to the church, passing the former smithy, the old village (rebuilt 1872) and the entrance to Wherstead Park. The mansion was designed by Wyatville in 1792 for Sir Robert Harland who, in 1813, exchanged the estate with Mr. John Vernon of Orwell Park on the other side of the river. It was rented for a short time by the parents of Edward FitzGerald. Sir Robert sold Orwell Park to Col. Tomline in 1847 and came back to spend his final year at Wherstead. Lady Harland (see Vernon, who died in 1860, left Wherstead to Charles Easlead, whose wife was Sir Robert Harland’s niece. The Park is now the Area Headquarters of the Electricity Board.

Historical Development of the Church

Like most mediaeval churches, St. Mary’s has evolved over the centuries, as people of different times and traditions have altered and beautified it. A church at Wherstead is mentioned in the Domesday Survey of 1086 and there was probably a church here in Saxon times. There may indeed have been a place of pagan worship on this spot; the huge boulders (or sarsen stones) upon which part of the tower rests, take us back to pre Christian days.

The core of the present nave is certainly Norman, as we can see by its simple 11th century north doorway and slightly later south doorway. The tiny renewed Early English windows towards the west end of the indicated that this was probably remodeled in the late 12th or early 13th century.

During the 15th century the western tower was added. William Brown bequeathed 2 marks (about £1.35) in 1455 towards building this tower and in 1469 another donor left 20 shillings towards a new bell.

Few items remain inside St. Mary’s from the times before the Reformation when the interior was a treasure-house of mediaeval colour and carving, providing a host of visual aids to instruct the ordinary people who could not read and were not Latin scholars. The chancel roof and the pattern of the bench-ends show the beauty of mediaeval design and the rood-loft staircase reminds us of the painted , with the loft (gallery) which surmounted it and the great Rood (Christ crucified, flanked by Our Lady and St. John) which crowned it – all gone.

After the Reformation, when services were in English and there was less need for visual aids, much of the colour and carving was removed. What the Reformers in the mid 1500s did not remove, the in the 1640s did, so our churches became very plainly furnished for the Prayer Book worship of the Established Church, where the emphasis was on the preaching of the Word, with Communion four times per year. This lasted through the 18th and early 19th centuries.

The antiquarian, David Elish Davy, visited this church in 1818 and 1843 and his notes give us some idea of what the church looked like then. He observed that the walls were very low and did not exceed 12 feet. The roofs were tiled except for that on the north side of the nave, which was covered with lead. The south doorway had been ruined with too much plaster and whitewash; its inner capitals had almost worn away. Most of the windows on the south side were square-headed 15th century ‘Perpendicular’ ones and the cast window was also of this date (as is seen in the sketch made by Henry Davy in 1838.)

Inside, the church was equipped with irregular box-pews, and a few mediaeval benches also remained. On the north wall hung the Royal Arms, dated 1679. The old font was square, its “large and clumsy” bowl being held together by a piece of iron which surrounded it. The panels of its square stem had been filled in with black flints. On the north side fo the chancel stood the large manorial pew belonging to the Vernons and above it was a framed set of the Ten Commandments on the wall. Flanking the east window were the Lord’s Prayer and Creed. The sanctuary floor was at the same level as the other floors in the church and was not railed off; movable rails were brought in when needed for the convenience of the communicants.

At the west end was a small gallery for musicians and a visitor to a service in the 1850s noted that it was occupied by four labouring men who formed the choir – he also remarked that the interior of the church was “of a most rude and primitive character, the only approach to anything like ornament being an escutcheon and a tablet in memory of the late Sir Robert Harland”.

During the second half of the 19th century there was a great movement to restore and refurnish churches on pre-Reformation lines, bringing back what was good in mediaeval design and throwing out many of the innovations of the 17th and 18th centuries. Benches took the place of box-pews, the altar was given more prominence, galleries were removed and stained glass was put into the windows. Few churches escaped this Victorian restoration and St. Mary’s, which had more attention than most, was transformed in 1864, entirely through the generosity of the widow of G.A.C. Dashwood (he died the previous year at the age of 43).

By this time the church was badly in need of repair. The roofs, walls and windows were in poor condition; the old wood and plaster porch was rotten, the nave had an ugly flat ceiling and the chancel roof had been plastered and whitewashed over. Only the tower was left untouched because it did not require attention; the rest of the building was altered drastically.

The architect for the restoration was Richard M. Phipson, who restored many East Anglian churches, including St. Mary le Tower Ipswich. The contractors were the Ipswich firm of Ringham & Son. The remarkable Henry Ringham was the first person in Suffolk to restore churches in the . As early as the 1840s this self-taught craftsman was carving oxquisito benches on mediaeval lines, carefully salvaging any ancient wood work and carving new work in strict conformity to it. Some of his finest work may be seen at Great Bealings and Tuddenham St. Martin. The church was reopened in October 1864, when the preacher was the Bishop of Norwich, in whose vast diocese most of Suffolk was situated until the diocese of St. Edmundsbury and Ipswich was formed in 1914.

About 1900 the pinnacles were added to the tower, making St. Mary’s structurally the building we see today. Much as been done during the 20th century to improve and beautify the church and we see there worthy craftsmanship of our own times, which rightly takes it place alongside that of past ages. The tower has recently been well restored and the stonework of its pinnacles has been partly replaced.

Having traced its long history, we now examine the features and treasures. Of St. Mary’s in detail.

What to see outside the church

The setting of an ancient church is a feature which is often overlooked by its visitors. It must be admitted however that few visitors to St. Mary’s could have possibly ignore its glorious situation, affording one of the most magnificent views from any church in the country. From its church yard we can look down the Orwell estuary towards Levington and Trimley and in the opposite direction are glimpses of Ipswich and its outskirts. This is a fine vantage point from which to view the 325 foot high chimneys of the Power Station at Cliff Quay, also the Orwell Bridge, opened in 1982, whose elegant features span the wide Orwell valley. It is worth walking along the bridge to look back at this little church, standing proudly upon its ridge. It is little wonder that people of ancient times liked to worship at “high and holy places”.

The church-yard itself is trim, cared for and picturesque, with a downward slope towards the south. It contains some 18th century chest-tombs, also, to the south of the porch and near the fence, the grave of Coru Visser, with its inscription in two languages. He was a Dutch artist, who lived in Suffolk for over 40 years until his death in 1982 at the age of 79. He painted portraits of the Dutch Royal Family and his work may be seen in the National Portrait Gallery and the British Museum, also in the Christchurch Mansion at Ipswich. The grave of Emmy, his wife, who died in 1962, is also near the fence, further east.

We enter the church-yard through a handsome lych-gate, designed by J.S. Corder, made by Mr. Friend of Ipswich and erected in 1894 in memory of the Rev’d Foster Barham Zancke. This remarkable man was Curate of Wherstead 1841-7 and Vicar 1847-93. He was not only a caring priest but also a writer, historian, amateur architect, expert on Suffolk rural life and dialect and also on eminent campaigner for the Liberal Party. His best- known book, “Wherstead, Some Materials for its History”, is an in-depth study containing many fascinating subjects which some parish historians of his time did not think to research.

The church itself has a trim and attractive exterior, with nave and chancel under a continuous roof (notice the pattern of the cross worked in the tiles), a picturesque timber porch on a flint base, a northern vestry and a slender and beautifully proportioned western tower.

The flint facing of the walls and the stonework of the windows, also the three huge animal head gargoyles (to throw rainwater clear of the walls) are all part of Phipson’s 1883-4 restoration. For the windows he chose the Decorated style (in use during the early 14th century); each is framed by a hood-mould, resting upon corbels carved in the shape of foliage or heads. The only exceptions are the small single western windows of the chancel, which may well be replacements of original 13th century ones. The blocked doorway on the north side of the nave is original Norman work of c. 1100. It is simple in design and its features have become very worn by nearly 900 years of British weather. The eastern gable is crowned by a stone Celtic gable-cross, which was given in 1983 in memory of Edward Carter.

Although the tower has been carefully restored during recent years, most of its fabric is 15th century work. It is small compared with many Suffolk towers, but is elegant and has dignity. The buttresses at its western corners are embellished with paneling, using stone and knapped (split) flints; those not only strengthen the tower but also enhance its beauty. Notice the huge sarsen stones upon which the south-west buttress rests.

In the masonry of the tower walls may be seen a mixture of building materials, including flint, stone, brick and chunks of brown septaria (our local building material – mined from the marshes between Orford Ness and the Haze), all of which combine to create a warm and mellow colour.

The tower windows are all in the Perpendicular style of architecture, used in the 15th century. There is a large three-light west window, a small ringing-chamber window on the south side, and two-light belfry windows which have hood-moulds resting upon tiny original carved heads. The staircase turret on the south side is lit by small quatre-foil (four-lobed) windows. The brick parapet is a little later than the rest of the tower; it has stepped battlements and the old gargoyle heads beneath it on the north and south sides have been pensioned-off in favour of modern spouts. The tower is crowned by elegant crocketted pinnacles at the corners and at the center of each face. These were added about 1900, but similar pinnacles would have been here originally – old pictures clearly show the stumps of them and two of them have been lying loose in the belfry before 1900.

From 1600 – 1902, a large copper ball, five feet in diameter, stood at the top of a staff at the summit of the tower. This served as a navigation mark for vessels sailing up the Orwell.

We enter by means of the south porch, which shelters the fine Norman south doorway of the nave. This is a beautiful piece of early 12th century craftsmanship, although some of its parts are now missing. Its semi-circular arch has an unusual adaptation of the Norman zig-zag pattern (which is made to stand out in relief like a chain) and is supported by two circular shafts each side; the inner ones have lost their original capitals, but the outer capitals remain, and are carved in the shape of faces. To the east of the doorway is a small (later) Holy Water stoup, where mediaeval people dipped their fingers and made the Sign of the Cross in Holy Water as a symbolic act of purification and re-dedication upon entering the sacred building.

What to see inside the church

Although most of the craftsmanship in this church dates from 1864 and after, it is work of the highest quality and this homely interior, containing much of interest, has an atmosphere of prayer and devotion and feels lived- in and greatly cherished.

High in the wall above the 15th century chamfered tower arch, but not now visible except from the belfry, is a blocked Sanctus Bell window, through which a ringer could get a clear view of the altar, in order to sound a bell at the Sanctus and the Consecration at the , so that those who were not able to be present could join in prayer.

There are two bells in the tower; the treble was cast by John Darbie of Ipswich in 1675 and the tenor, inscribed “Nos thome meritis mereamur gaudia lucis” (may the merits of St. Thomas gain for us the blissful realms of light) is a 15th century bell, cast at Norwich (and it could be the one for which money was left in 1469). A third bell, made by Miles Graye of Colchester in 1632, was unfortunately stolen in 1970.

On the north nave wall, near the west end, hangs an attractive painting showing the lych-gate and the church tower with its navigation ball. This must date from between 1894 and 1902. Hearby is a list of Vicars of Wherstead from 1300, and notes about them, compiled by the Rev’d Barham Zincke.

The recess near the south door contained a second Holy Water stoup. The font was designed in 1864 by Barham Zincke and was carved by James Williams of Ipswich. The panels of its octagonal bowl are of an original and unusual design, showing the Cross and Emblems of the Passion (east), St. Michael treading Satan underfoot (north-east), the Baptism of Our Lord (north), the Dove of the Holy Spirit with rays (north-west), “This is my beloved Son, in whom I am well pleased”, with rays (west), and the three southern panels form one scene showing Jesus welcoming the children. Zincke not only designed this front, but also the Vicarage, which was built in 1880.

Another remarkable piece of stonecarving is the pulpit, given by the Hon. Mrs. Rushout and carved by M. Abeloos of Louvain (who also carved the stall canopies at Ely Cathedral). This is a rich piece of stonecarving, graphically depicting Jesus the Good Shepherd in the central panel with a sheep on his shoulder and three realistic and very woolly sheep at his feet, also the interwoven sheep-fold fence behind. In other panels are the inscriptions “Feed my Sheep” and “Feed my Lambs”, also olive leaves (south), the Rose of Sharon (south-west) and the lily of the valley (north- west). The pulpit fall, made in 1983, is the work of Miss Nancy Miller and symbolizes the main features of this parish – the river and the land, with agriculture represented by the wheel in the cross.

The 19th century brass eagle lectern reminds us that the Word of God is not only to be read, but spread. Hearby, in the south nave wall, is the staircase to the former rood-loft; the steps are of Tudor brick. Money was bequeathed in 1453 for the candlebeam in the rood-loft and possibly this staircase, which gave access to it, was erected at that time.

The 19th century wooden chancel arch, resting upon stone foliage corbels, has traceried spandrels between the arch and the wall and roof) and there are angles each side beneath wooden canopies; one holds the inscription “Jesu Mercy” and the other a chalice.

The benches are worthy examples of Henry Ringham’s excellent woodcarving. Their traceried ends are modeled on the one 15th century example which he found. Each terminates in poppyhead of leaves, etc, of which no two are the same.

The nave roof, of oak, is entirely work of 1864, but the chancel roof retains its 15th century framework. It is a sturdy single-hammerbeam roof, with uncommonly thick moulded cornices at the tops of the walls.

The little chamber organ, with its attractive painted case, was built by Timothy Russell of Grays Inn Road, London in 1837. We first hear of this instrument in use at the small village church of Fifield, near Burford, Oxon. It was then moved to Whittlesey Methodist Church, Cambs, and after twelve years service there, to Field Dalling in Norfolk. It was finally transferred to Wherstead in 1976 and installed by Boggis of Diss. The organ has one manual and the following stops: - Stopped Diapason 8’ (divided), Open Diapason 8’, Principal 4’, Flute 2’, and Fifteenth 2’.

The sanctuary has a colorful floor of Minton tiles. In its south wall is an early 14th century pisoina, with an octfoil drain, into which was poured the water from the washing of the priest’s hands at the Eucharist. The altar has a colourful frontal, made by Nancy Miller in 1983; its central motif is the crowned ‘M’ for the Blessed Virgin Mary, the Patron Saint of the church.

There is some beautiful stained glass in the windows. The nave windows are filled with mild-coloured motifs and richer colouring in the tracery; note the St. Edward window near the pulpit, with ‘Es’ and his emblem of the crown and arrows, also a picture of the saint at the top. The pictorial windows were given as memorials, and are as follows: -

West window. Jesus healing the blind man and the four Acts of Mercy, with the four Evangelists and two emblems of Christ in the tracery. Made in 1864 by Holland, in memory of Sir Robert Harland (1848) and Arethusa (1860).

East window. The Last Supper, the Resurrection of Jesus and Jesus at Emmaus. Made in 1864 by Alexander Gibbs, in memory of George A.C. Dashwood, who died in 1863, aged 43.

Chancel, south-east. Jesus welcoming children. Made in 1864 in memory of George Dashwood’s children, Agnes and Emma, who died of diphtheria within a few days of each other in 1863, aged 8 and 4 years respectively. The glass is by Alexander Gibbs.

Nave, south-east. David as Shepherd Boy and as King. Made by King of Norwich, in memory of David William Pepper, who died in 1963, aged 19. The Good Shepherd in the tracery is 19th century.

On the walls are memorial plaques to people of the past who have been associated with this church and parish. There are: -

Nave, north (west-east). 1. The Rev’d Charles Vernon, D.D., of Wherstead Park (1863). A marble plaque, with his coat of arms above, by E.S. Physick of London. 2. War Memorial, recording the names of three Wherstead folk who perished in World War 1. 3. Brass plaque to Caroline Isabella Dashwood. (1920). 4. Marble plaque to Sir Robert Harland (1848). 5. Captain H.C. Pallant of the Indian Army Reserve, who died in Persia in 1920.

Nave, south. 1. Charles Edmund Dashwood (1935), the elder son of G.A.C. Dashwood.

The ledger slabs once in the floors of the church were taken up in 1864 and some may now be seen outside, near the porch and tower. They commemorate: - 1. John and Dorothy Hunt (1764 and 1769) and Burham Cutting (1792). 2. Robert Gooding (1618). He was a salt finer. 3. Christopher Wright (1624) and his son John (1652). 4. The Rev’d Samuel Sames (or Samwaies), 1657. He was the “Minister of God’s Word in the parish” for 54 years.

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This guide was compiled and produced by Roy Tricker, who is grateful to Dr. Simon Cotton, Mr. E. Mountain, Mr. E. Carter, Mrs. J. Worrell and Mr. And Mrs. P. Stollery, for much help and useful information, also to the Staff of the County Record Office for the use of their facilities. The booklets were assembled by pupils of Copleston High School, Ipswich.

* * * * * * * * * * * * Please say a prayer for the priest and people who worship in this church and who have the difficult and costly task of maintaining it, intact and beautiful, for future generations to use and to enjoy. They would be deeply grateful for any contributions that visitors can spare to help them in this task.

May God bless and keep you always.

One wanders down the winding land Away from noise of car and train, And just beyond some ancient trees The lynch-gate of the Church one sees. How many feet have trod before And passed beyond that open door, To worship and to sing God’s praises On wet as well as sunny days ? Alas! The congregation shrinks, The world’s too busy now, methinks. Three trips is all one needs, it seems To help us with our worldly schemes. To Christen, wed, and then to die, To gain that rest beyond the sky. If only folks would come once more To worship, ponder and adore, The world would be a better place For all of us – the Human Race.

A view of St. Mary’s Church, Wherstead, as seen by Mrs. E.A. Carter, the Church Secretary. It is written approximately ten years ago, when the elm trees were so profuse in the immediate proximity of the church.