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The only place in Kent that begins with the letter Q that has a church.

 

Just so you know.

 

I have John Vigar to blame for me crossing over onto the island, I never usually crib on a church before I go, but I did wonder if Holy Trinity was worth a visit.

 

Turns out it very much was, and as I was just the other side of The Swale, a short drive to get here.

 

Queenborough is an industrial, busy, tightly packed place, like a borough of London uprooted into the Kent marshes.

 

It seems so unlikely to have a fine church, but then the town is ancient, and the links with the sea, long.

 

I followed the sat nav past the old castle mound, and to the church, on a main road in residential housing.

 

First look was unpromising, with what looked like a garden shed bolted on the north side: turns out this is the vestry, and in a poor state. But the churchyard was packed full of interesting and grand monuments.

 

Don't know why I'm trying to get in, I told myself as I walked to the porch, bound to be locked.

 

But the porch door is unlocked, and although the church is empty, I can hear people in the vestry to the north, I try to make as much noise as possible so not to surprise them.

 

My eye goes straight to the font of 1610, and then the painted ceiling, the details of which are partially hidden under nearly a century-old covering of soot, but still stunning.

 

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The town of Queenborough grew to serve the long-vanished castle which had been founded in the fourteenth century by Edward III. The church - which should not be missed - dates from 1366 and consists of nave, chancel, west tower and south porch. Its churchyard is entirely crowded with headstones to those associated with the Royal Dockyard at Sheerness. Inside the church are two main items of interest. The most striking is the nave roof which is ceiled and painted with looming clouds. This work dates from the seventeenth century, as does the other item of note: the font. This is dated 1610 and includes a finely carved picture of Queenborough Castle, with four corner turrets and two cannon halfway up the walls. The fine Royal Arms are of Queen Anne's reign - the lion has the head of Charles I - and show the loyalty of the people of Queenborough to the monarch who had granted them their town charter.

 

www.kentchurches.info/church.asp?p=Queenborough

 

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QUEENBOROUGH,

THE parish of which lies the next adjoining southwestward from that of Minster, on the western shore of this island, was so called in honor of Philippa, queen to Edward III.

 

THERE was an antient castle here, called the Castle of Shepey, situated at the western mouth of the Swale formerly, as has been already mentioned, accounted likewise the mouth of the river Thames, which was built for the defence both of the island and the passage on the water, the usual one then being between the main land of the county and this island.

 

This castle was begun to be new built by king Edward III. about the year 1361, being the 36th of his reign, (fn. 1) and was finished about six years afterwards, being raised, as he himself says in his letters patent, in his 42d year, for the strength of the realm, and for the refuge of the inhabitants of this island.

 

This was undertaken under the inspection of William of Wickham, the king's chief architect, afterwards bishop of Winchester, who considering the difficulties arising from the nature of the ground, and the lowness of the situation, acquitted himself in this task with his usual skill and abilities, and erected here a large, strong, and magnificent building, fit equally for the defence of the island, and the reception of his royal master. When it was finished, the king paid a visit to it, and remained here for some days, during which time he made this place a free borough, in honor of Philippa his queen, naming it from thence Queenborough, and by charter in 1366, he created it a corporation, making the townsmen burgesses, and giving them power to choose yearly a mayor and two bailiffs, who should make their oath of allegiance before the constable of the castle, and be justices within the liberties of the corporation, exclusive of all others; and endowing them with cognizance of pleas, with the liberty of two markets weekly on Mondays and Thursdays, and two fairs yearly, one on the eve of our Lady, and the other on the feast of St. James, and benefiting them with freedom of tholle, and several other privileges, which might induce men to inhabit this place. Three years after which, as a further favor to it, he appoined a staple for wool at it.

 

King Henry VIII. repaired this castle in the year 1536, at the time he rebuilt several others in these parts, for the defence of the sea-coast; but even then it was become little more than a mansion for the residence of the constable of it. And Mr. Johnston, in his book intitled Iter Plantarum Investigationis ergo susceptum, anno 1629, tells us, that he saw in this castle at that time, a noble large dining-room or hall, round the top of which were placed the arms of the nobility and gentry of Kent, and in the middle those of queen Elizabeth, with the following verses underneath:

Lilia virgineum pectus regale leonis

Significant; vivas virgo, regasque leo:

Umbra placet vultus, vultus quia mentis imago;

Mentis imago placet, mens quia plena Deo:

Virgo Deum vita, Regina imitata regendo,

Viva mihi vivi fiat imago Dei.

Qui leo de Juda est, et flos de jesse, leones

Protegat et flores, Elizabetha, tuos.

 

Lillies the lion's virgin breast explain,

Then live a virgin, and a lion reign.

Pictures are pleasing, for the mind they shew;

And in the mind the Deity we view:

May she who God in life and empire shews,

To me th' eternal Deity disclose!

May Jesse's flower, and Judah's lion deign

Thy flowers and lions to protect, great Queen.

 

¶In this situation it continued till the death of king Charles I. in 1648; soon after which the state seized on this castle, among the rest of the possessions of the crown, and then vested them in trustees, to be surveyed and sold, to supply the necessities of government, accordingly this castle was surveyed in 1650, when it appears to have consisted of a capital messuage, called Queenborough-castle, lying within the common belonging to the town, called Queenborough Marsh, in the parish of Minster, and containing about twelve rooms of one range of buildings below stairs, and of about forty rooms from the first story upwards, being circular and built of stone, with six towers, and certain out-offices belonging to it, the roof being covered with lead; that within the circumference of the castle was one little round court, paved with stone, and in the middle of that one great well, and without the castle was one great court surrounding it; both court and castle being surrounded with a great stone wall, and the outside of that moated round, the whole containing upwards of three acres of land. That the whole was much out of repair, and no ways defensive by the commonwealth, or the island on which it stood, being built in the time of bows and arrows. That as no platform for the planting of cannon could be erected on it, and it having no command of the sea, although near unto it, they adjudged it not fit to be kept, but demolished, and that the materials were worth, besides the charge of taking down, 1792l. 12½d.

 

The above survey sufficiently points out the size and grandeur of this building, which was soon afterwards sold to Mr. John Wilkinson, who pulled the whole of it down and removed the materials.

 

The scite of the castle remained in his possession afterwards till the restoration of king Charles II. when the inheritance of it returned again to the crown, where it has continued ever since. There are no remains of the castle or walls to be seen at this time, only the moat continues still as such, and the antient well in the middle of the scite within it, a further account of which will be given hereafter.

 

THE CONSTABLES of this castle were men of considerable rank, as appears by the following lift of them:

 

In the reign of queen Elizabeth, the annual fee of the keeper of this castle was 29l. 2s. 6d. (fn. 7)

 

ALTHOUGH Queenborough was formerly, whilst the castle waas standing, a place of much more consequence than it is at present, yet as to its size and number of inhabitants, it was much less so; for in the reign of queen Elizabeth, as may be seen by the return made of it in the 8th year of that reign, it ap pears, that there were here houses inhabited only 23; persons lacking proper habitation one; boats and ships twelve, from four tons to sixteen; and a key and landing-place to the town; proper persons occupied in carrying things from port to port, and in fishing, forty-five. At present this town consists of one principal wide street, the houses of which are neat, and mostly well-built, in number about one hundred and twenty, or more. The market house is a small antient brick building, in the middle of the street, with a room over over it. The court-hall is the upper part of a mean plaistered dwelling-house, close to the church-yard.

 

Notwithstanding the above-mentioned increase both of houses and inhabitants, it is, even now, but a poor fishing town, consisting chiefly of alehousekeepers, fishermen, and dredgers for oysters; the principal source of wealth to it being the election for members of parliment, which secures to some of the chief inhabitants many lucrative places in the ordnance, and other branches of government.

 

The corporation still subsists, consisting of a mayor, chosen on Sept. 29th, four jurats, two bailiffs, a recorder, town-clerk, chamberlain, and other officers, chosen annually by the free burgesses of the town and parish. (fn. 8)

 

The liberties of the corporation extend by water from the point of land joining to the river Medway to King's Ferry.

 

The arms of the town are, On a mount vert, a tower, with five spires on it, argent.

 

There is a copper as-work carried on in this place, which is the property of several different persons.

 

¶Though the water throughout the whole island of Shepey has been mentioned before to be in general exceeding unwholesome and brackish, yet the well be fore-mentioned on the scite of the castle here, is one of the exceptions to it. This well has been useless for many years, having little or no water in it, though several attempts had been made to restore it, when in the year 1723 it was more effectually opened by order of the commissioners of the navy, a full account of which was communicated to the Royal Society by Mr. Peter Collinson, F. R. S. (fn. 9) The depth of it was then found to be two hundred feet, and artificially steamed, the whole of it with circular Portland stone, the mean diameter four feet eight inches, there was little or no water then in it; on boring down they brought up a very close blueish clay, and after three days endeavours the augur slipping down, the water flowed up very fast, and kept increasing for some days, till there was one hundred and seventy six feet and upwards depth of water; what was extraordinary, they bored eighty-one feet below the trunk they had fixed four feet below the curb at the bottom of the well, before they met with this body of water, which by comparison is one hundred and sixty-six feet below the deepest place in the adjacent seas. This water proved excellently good, soft, sweet, and fine, and in such plenty as in great measure, excepting in time of war, when there is a more than ordinary call for it, to supply the inhabitants, as well as the shipping and several departments of government, which, jointly with the new well at Sheerness before-described, it now fully does.

 

The corporation have taken upon themselves to repair this well for several years past, at their own expence; notwithstanding which, it still continues the property of the crown, there having never yet been any grant made of it.

 

Anno 7 George III. an act passed for the better and more effectual maintenance and relief of the poor of the borough and parish of Queen borough.

 

Though Queenborough was made a borough by king Edward III. as before-mentioned, yet it had not the privilege of returning burgesses to parliament till the 13th year of queen Elizabeth's reign, in which year it made its first return of them.

 

QUEENBOROUGH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.

 

¶The church, which is dedicated to the Holy Trinity, is a handsome building, consisting of one isle and one chancel; it is decorated with a painted roof, and other ornaments, and very neatly kept. There is a high-raised seat in it, for the mayor and two bailiffs. The whole of it was raised, paved, and ceiled, and the gallery at the west end, erected by Thomas King, esq. the first time he was elected member of parliament in 1695. It has a square tower steeple at the west end, which seems much older than the church itself, and at the top of it there is a small wooden turret, in which hang five bells. It was once accounted as a chapel to the mother church of Minster, and belonged with it to the monastery of St. Sexburg in that parish, but it has long since been independent of it.

 

It is now esteemed as a donative, in the gift of the corporation of this place, and is of the yearly certified value of 20l. 2s. 6d.

 

www.british-history.ac.uk/survey-kent/vol6/pp233-245

As I have said previously, I used to travel from Lowestoft to Bungay every day for over 5 years; sometimes by car, but for the last three years by coach.

 

The coach used to pick up at various places, and once we had left Beccles we used to pick up at the bottom of the hill from the short stretch of dual carriageway and again at the main part of the village, where the church was.

 

I used to think, even back in the 80s, that Barsham was a fine location for a church: down a private lane where where the vicarage and church are. I thought this really was private, and so never did go for a look.

 

And so on my only full day in the area, Barsham was once church I really did want to visit, and so taking the now much quieter road out of Beccles and slowing down for the turn to the church.

 

In the 25 years since I last traveled the road to work, the trees have grown even larger, to the extent the church is all but invisible from the road now, well in summer for sure.

 

The church is still hidden as I approached, hidden behind a line of trees, but the round tower could be seen over the top of the lych gate.

 

Inside, there was bunting, a Nelson connection, and two of the wardens were doing the weekly cleaning, and were very chatty, but polite enough to let me get on with my snapping.

 

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e decided to spend the day visiting the churches of the Lothingland peninsula, but it had taken less time than I'd thought it would. Some of the churches that we'd expected to find locked were open, but none of the ones that were locked had keyholders. The ones on the Suffolk side of the border were open, as you'd expect, but we were also pleased to find the Norfolk churches of Fritton and Bradwell open to strangers and pilgrims. The grim parish church at dismal Hopton was padlocked up to the eyeballs, and the graffiti-stricken Belton church appeared to have been completely abandoned, a ruin in the making. It was with some relief that we decided to head back south into gentle Suffolk - the alternative, leaving the peninsula via Yarmouth, was too awful a prospect to contemplate.

Where to go next? I hadn't been to Barnby or North Cove for a number of years, and so I suggested that we take a look there. Both churches have no less than three keyholders each, but at each church not a single one of them answered the phone - perhaps they were all at a keyholders' conference or something.

 

Inevitably then, my thoughts turned to Barsham, a bit further down the road on the other side of Beccles. Barnby and North Cove straddle the A146, a rat-run between Bungay and the sea. It is not a road a cyclist should spend any amount of time on. But the Church of the Most Holy Trinity is gorgeous in its setting across a meadow from the road. Once in its pretty churchyard, the sound of the traffic is left behind. The splendid former rectory slumbers just beyond the fence. This was one of Suffolk's great Anglo-catholic shrines, and generations of visitors have made the same journey as we were making. And even before that extraordinary movement reared its head, this parish touched the world in a significant way, at least once.

 

The exterior of this building is the most beautiful of any small church in Suffolk. I dare say that the setting was even more idyllic before the elm trees which Arthur Mee saw here in the 1930s were lost to Dutch Elm disease. The most striking feature is at the east end. Here, like an extension of the window, an extraordinary flint lattice spreads across the face of the wall. It has been variously dated as anything between the early 12th century and the late 19th century; Clive Hart, in his excellent book East Anglian Flushwork, dates it as 16th Century. It is most unusual; there's nothing exactly like it anywhere else in Suffolk, although something rather similar has been picked out in brick on the east wall at Spexhall. Near the south porch sits a memorial to one of the famous names associated with Barsham. Adrian Bell was the finest author to write books about Suffolk in the 20th century, particularly Corduroy and Silver Ley. He was the father of the white-suited former Independent MP, Martin Bell.

 

Curiously,the tower and nave are not fully joined above head height. There is a window in the west wall of the nave, suggesting that the body of the church here is older than the tower against which it stands - or, more precisely, the west wall is. The Caen stone of the south doorway suggests a post-1066 date for that feature, at least. You step down into a charming, devotional space. The chapel to St Catherine on the north side creates an unusual dynamic, the chancel pressed as it is against the south wall. As elsewhere in Suffolk, much work was done here from the 1870s onwards. The restoring architect was Charles Kempe, best known these days for the glass he produced in vast volume.

 

Kempe had a number of assistants during his long career, two of whom would have a part to play in the story of this church. One was Frederick Eden, who would return here at the start of the new century and furnish this understated, devotional shrine. His loving and meticulous attention to detail is ultimately what, internally at least, makes Holy Trinity the church it is today. He was responsible for the rebuilding and furnishing of the chapel of St Catherine in 1908. He found a Norman font bowl under the chapel floorboards, which is now on display there. Also his are the communion rails, the sanctuary carpet, the aumbry, the war memorial and even the lychgate outside. Most important of all, however, is the glass, which is almost all his.

 

The other Kempe apprentice was the young Ninian Comper, that flamboyant Anglo-catholic, whose finest hour, in East Anglia at least, would come up the road at Lound. The church guide quotes a letter which the nineteen year old Comper wrote to his mother from Barsham rectory on Good Friday 1883: Dearest Mother mine, it is a lovely place - a sweet rectory in the midst of splendid trees & the little church almost touching the house. There is a curious East window all in diamond tracery down to the cill and most of the diamonds contain a Saint or Angel painted by my master so I feel at home. And there is a pretty Elizabethan screen, done up & supplied with a rood and iron gates by my master also. Mr Williams is what I call a regular thorough priest and not a rector or a clergyman and is much to my mind but Father knows him well, I believe, and so need not try to dwell upon his virtues!

 

The rood screen is very unusual - again, there's nothing quite like it anywhere else in Suffolk. It is probably Laudian, as at Kedington, having been put up in the 1630s to replace that torn down at the Reformation a century before.The rood, which is not the one Comper saw, and the arch of honour were put up in the 1890s, and painted in 1919. I can't help thinking that the archway has a DIY feel to it, but the little statues are rather sweet. Another unusual feature of the church is the restored low side window in the chancel. The shutter and its hinges were made by a local blacksmith, probably under the supervision of Kempe. The window above shows Jesus healing the ten lepers, a reference to the then-current misguided belief that low side windows had something to do with allowing lepers a view of the altar. This idea has now been entirely discredited, but still the window remains, a memory of the enthusiasm for the medieval in the last years of the 19th century.

 

A roughly surviving St Christopher wall painting is discernible on the north wall of the nave. These are relatively common in this part of East Anglia, and you probably wouldn't notice this one unless you looked for it. The length of the wall is now taken up with the famious England Expects That Every Man Will Do His Duty signal in flags. There's a good reason for this, as we will see. The George III coat of arms comes from nearby Shipmeadow, now a private house, as do the paschal candlestick and the Jacobean Holy Table in the rebuilt chapel of St Catherine. A simpler memory of the past is the memorial board to Harry Stebbings, gassed in the First World War, which was painted by Arthur Batchelor of Norwich at cost of materials only, according to the Rector of the time. More elaborate is the important terracotta table tomb, one of seven in East Anglia, built from parts manufactured in and shipped from Flanders in the 1520s. It was probably to Sir Edward Etchingham, and it served as an Easter sepulchre. There are also a number of floor brasses and ledger stones. The 'rectors and patrons' board was salvaged from a Catholic church in Norwich, presumably the Jesuit chapel in Willow Lane.

 

On the 8th of February 1906, lightning struck the east end of the church, destroying the stonework of the east window and smashing the medieval mensa which had been reinstalled on the high altar. The fund raised to repair this damage also paid for the building of the north aisle as the chapel of St Catherine. In 1979, a fire destroyed the nave roof, and scorch marks caused by fallen clumps of smouldering straw can still be seen on several benches.

 

There are a number of Suffolk churches where a dynasty of vicars has handed the living down through the generations. Most famous, perhaps, are the Wallers at Waldringfield, where present rector John Waller is fourth in an unbroken line stretching back to the 1850s.

 

But here at Barsham, the situation is illustrated in extremis. The Suckling family held the living here from the 17th century right up until the parish was merged into a benefice in the late 20th century. They were the local landed family, and in a position to present themselves to the living on each occasion. This was not unusual, up until the mid-19th century, but the Sucklings carried the tradition beyond that. This was partly by tenaciously bequeathing the property, presentation rights and living to distant cousins when the male line died out, on the condition that the recipient changed his name to Suckling before inheriting. Marriage to a Suckling daughter was another way of qualifying.

 

But the other thing that ensured this remarkable dynasty's survival was the way they embraced Anglo-catholicism so wholeheartedly, at a time when a career in the Church was increasingly seen as a poor alternative to the fortunes to be made out in the British Empire. They tapped into the energy of the movement in the East End of London, where they also presented livings.

 

They were particularly associated with the extreme High Church social action movement of the late 19th century, being good friends of Father McKonochie, one of a number of Anglican priests shamefully prosecuted by the Church of England and imprisoned for 'popish practices'. McKonchie retired, a broken man, to Barsham Rectory, before his life ended tragically some five years later. He is remembered by a memorial at the west end of the north aisle here. The Sucklings were also associated with the nearby Anglican convent of All Hallows, at Ditchingham in Norfolk, an institution that scandalised upright Victorian protestants. As at Claydon, the parish priest here suffered vile abuse for his connection with it.

 

For a few people, this church is a place of pilgrimage for reasons unconnected with its colourful liturgical history. In the 18th century, one of the Suckling daughters grew up to be mother of Admiral Horatio Nelson. In the days when a patriotic pride was taken in the waging of war and advance of imperial adventure, Nelson was considered a great British hero.

 

Simon Knott, June 2008

 

www.suffolkchurches.co.uk/barsham.html

As I have said previously, I used to travel from Lowestoft to Bungay every day for over 5 years; sometimes by car, but for the last three years by coach.

 

The coach used to pick up at various places, and once we had left Beccles we used to pick up at the bottom of the hill from the short stretch of dual carriageway and again at the main part of the village, where the church was.

 

I used to think, even back in the 80s, that Barsham was a fine location for a church: down a private lane where where the vicarage and church are. I thought this really was private, and so never did go for a look.

 

And so on my only full day in the area, Barsham was once church I really did want to visit, and so taking the now much quieter road out of Beccles and slowing down for the turn to the church.

 

In the 25 years since I last traveled the road to work, the trees have grown even larger, to the extent the church is all but invisible from the road now, well in summer for sure.

 

The church is still hidden as I approached, hidden behind a line of trees, but the round tower could be seen over the top of the lych gate.

 

Inside, there was bunting, a Nelson connection, and two of the wardens were doing the weekly cleaning, and were very chatty, but polite enough to let me get on with my snapping.

 

----------------------------------------------------------

 

e decided to spend the day visiting the churches of the Lothingland peninsula, but it had taken less time than I'd thought it would. Some of the churches that we'd expected to find locked were open, but none of the ones that were locked had keyholders. The ones on the Suffolk side of the border were open, as you'd expect, but we were also pleased to find the Norfolk churches of Fritton and Bradwell open to strangers and pilgrims. The grim parish church at dismal Hopton was padlocked up to the eyeballs, and the graffiti-stricken Belton church appeared to have been completely abandoned, a ruin in the making. It was with some relief that we decided to head back south into gentle Suffolk - the alternative, leaving the peninsula via Yarmouth, was too awful a prospect to contemplate.

Where to go next? I hadn't been to Barnby or North Cove for a number of years, and so I suggested that we take a look there. Both churches have no less than three keyholders each, but at each church not a single one of them answered the phone - perhaps they were all at a keyholders' conference or something.

 

Inevitably then, my thoughts turned to Barsham, a bit further down the road on the other side of Beccles. Barnby and North Cove straddle the A146, a rat-run between Bungay and the sea. It is not a road a cyclist should spend any amount of time on. But the Church of the Most Holy Trinity is gorgeous in its setting across a meadow from the road. Once in its pretty churchyard, the sound of the traffic is left behind. The splendid former rectory slumbers just beyond the fence. This was one of Suffolk's great Anglo-catholic shrines, and generations of visitors have made the same journey as we were making. And even before that extraordinary movement reared its head, this parish touched the world in a significant way, at least once.

 

The exterior of this building is the most beautiful of any small church in Suffolk. I dare say that the setting was even more idyllic before the elm trees which Arthur Mee saw here in the 1930s were lost to Dutch Elm disease. The most striking feature is at the east end. Here, like an extension of the window, an extraordinary flint lattice spreads across the face of the wall. It has been variously dated as anything between the early 12th century and the late 19th century; Clive Hart, in his excellent book East Anglian Flushwork, dates it as 16th Century. It is most unusual; there's nothing exactly like it anywhere else in Suffolk, although something rather similar has been picked out in brick on the east wall at Spexhall. Near the south porch sits a memorial to one of the famous names associated with Barsham. Adrian Bell was the finest author to write books about Suffolk in the 20th century, particularly Corduroy and Silver Ley. He was the father of the white-suited former Independent MP, Martin Bell.

 

Curiously,the tower and nave are not fully joined above head height. There is a window in the west wall of the nave, suggesting that the body of the church here is older than the tower against which it stands - or, more precisely, the west wall is. The Caen stone of the south doorway suggests a post-1066 date for that feature, at least. You step down into a charming, devotional space. The chapel to St Catherine on the north side creates an unusual dynamic, the chancel pressed as it is against the south wall. As elsewhere in Suffolk, much work was done here from the 1870s onwards. The restoring architect was Charles Kempe, best known these days for the glass he produced in vast volume.

 

Kempe had a number of assistants during his long career, two of whom would have a part to play in the story of this church. One was Frederick Eden, who would return here at the start of the new century and furnish this understated, devotional shrine. His loving and meticulous attention to detail is ultimately what, internally at least, makes Holy Trinity the church it is today. He was responsible for the rebuilding and furnishing of the chapel of St Catherine in 1908. He found a Norman font bowl under the chapel floorboards, which is now on display there. Also his are the communion rails, the sanctuary carpet, the aumbry, the war memorial and even the lychgate outside. Most important of all, however, is the glass, which is almost all his.

 

The other Kempe apprentice was the young Ninian Comper, that flamboyant Anglo-catholic, whose finest hour, in East Anglia at least, would come up the road at Lound. The church guide quotes a letter which the nineteen year old Comper wrote to his mother from Barsham rectory on Good Friday 1883: Dearest Mother mine, it is a lovely place - a sweet rectory in the midst of splendid trees & the little church almost touching the house. There is a curious East window all in diamond tracery down to the cill and most of the diamonds contain a Saint or Angel painted by my master so I feel at home. And there is a pretty Elizabethan screen, done up & supplied with a rood and iron gates by my master also. Mr Williams is what I call a regular thorough priest and not a rector or a clergyman and is much to my mind but Father knows him well, I believe, and so need not try to dwell upon his virtues!

 

The rood screen is very unusual - again, there's nothing quite like it anywhere else in Suffolk. It is probably Laudian, as at Kedington, having been put up in the 1630s to replace that torn down at the Reformation a century before.The rood, which is not the one Comper saw, and the arch of honour were put up in the 1890s, and painted in 1919. I can't help thinking that the archway has a DIY feel to it, but the little statues are rather sweet. Another unusual feature of the church is the restored low side window in the chancel. The shutter and its hinges were made by a local blacksmith, probably under the supervision of Kempe. The window above shows Jesus healing the ten lepers, a reference to the then-current misguided belief that low side windows had something to do with allowing lepers a view of the altar. This idea has now been entirely discredited, but still the window remains, a memory of the enthusiasm for the medieval in the last years of the 19th century.

 

A roughly surviving St Christopher wall painting is discernible on the north wall of the nave. These are relatively common in this part of East Anglia, and you probably wouldn't notice this one unless you looked for it. The length of the wall is now taken up with the famious England Expects That Every Man Will Do His Duty signal in flags. There's a good reason for this, as we will see. The George III coat of arms comes from nearby Shipmeadow, now a private house, as do the paschal candlestick and the Jacobean Holy Table in the rebuilt chapel of St Catherine. A simpler memory of the past is the memorial board to Harry Stebbings, gassed in the First World War, which was painted by Arthur Batchelor of Norwich at cost of materials only, according to the Rector of the time. More elaborate is the important terracotta table tomb, one of seven in East Anglia, built from parts manufactured in and shipped from Flanders in the 1520s. It was probably to Sir Edward Etchingham, and it served as an Easter sepulchre. There are also a number of floor brasses and ledger stones. The 'rectors and patrons' board was salvaged from a Catholic church in Norwich, presumably the Jesuit chapel in Willow Lane.

 

On the 8th of February 1906, lightning struck the east end of the church, destroying the stonework of the east window and smashing the medieval mensa which had been reinstalled on the high altar. The fund raised to repair this damage also paid for the building of the north aisle as the chapel of St Catherine. In 1979, a fire destroyed the nave roof, and scorch marks caused by fallen clumps of smouldering straw can still be seen on several benches.

 

There are a number of Suffolk churches where a dynasty of vicars has handed the living down through the generations. Most famous, perhaps, are the Wallers at Waldringfield, where present rector John Waller is fourth in an unbroken line stretching back to the 1850s.

 

But here at Barsham, the situation is illustrated in extremis. The Suckling family held the living here from the 17th century right up until the parish was merged into a benefice in the late 20th century. They were the local landed family, and in a position to present themselves to the living on each occasion. This was not unusual, up until the mid-19th century, but the Sucklings carried the tradition beyond that. This was partly by tenaciously bequeathing the property, presentation rights and living to distant cousins when the male line died out, on the condition that the recipient changed his name to Suckling before inheriting. Marriage to a Suckling daughter was another way of qualifying.

 

But the other thing that ensured this remarkable dynasty's survival was the way they embraced Anglo-catholicism so wholeheartedly, at a time when a career in the Church was increasingly seen as a poor alternative to the fortunes to be made out in the British Empire. They tapped into the energy of the movement in the East End of London, where they also presented livings.

 

They were particularly associated with the extreme High Church social action movement of the late 19th century, being good friends of Father McKonochie, one of a number of Anglican priests shamefully prosecuted by the Church of England and imprisoned for 'popish practices'. McKonchie retired, a broken man, to Barsham Rectory, before his life ended tragically some five years later. He is remembered by a memorial at the west end of the north aisle here. The Sucklings were also associated with the nearby Anglican convent of All Hallows, at Ditchingham in Norfolk, an institution that scandalised upright Victorian protestants. As at Claydon, the parish priest here suffered vile abuse for his connection with it.

 

For a few people, this church is a place of pilgrimage for reasons unconnected with its colourful liturgical history. In the 18th century, one of the Suckling daughters grew up to be mother of Admiral Horatio Nelson. In the days when a patriotic pride was taken in the waging of war and advance of imperial adventure, Nelson was considered a great British hero.

 

Simon Knott, June 2008

 

www.suffolkchurches.co.uk/barsham.html

As I have said previously, I used to travel from Lowestoft to Bungay every day for over 5 years; sometimes by car, but for the last three years by coach.

 

The coach used to pick up at various places, and once we had left Beccles we used to pick up at the bottom of the hill from the short stretch of dual carriageway and again at the main part of the village, where the church was.

 

I used to think, even back in the 80s, that Barsham was a fine location for a church: down a private lane where where the vicarage and church are. I thought this really was private, and so never did go for a look.

 

And so on my only full day in the area, Barsham was once church I really did want to visit, and so taking the now much quieter road out of Beccles and slowing down for the turn to the church.

 

In the 25 years since I last traveled the road to work, the trees have grown even larger, to the extent the church is all but invisible from the road now, well in summer for sure.

 

The church is still hidden as I approached, hidden behind a line of trees, but the round tower could be seen over the top of the lych gate.

 

Inside, there was bunting, a Nelson connection, and two of the wardens were doing the weekly cleaning, and were very chatty, but polite enough to let me get on with my snapping.

 

----------------------------------------------------------

 

e decided to spend the day visiting the churches of the Lothingland peninsula, but it had taken less time than I'd thought it would. Some of the churches that we'd expected to find locked were open, but none of the ones that were locked had keyholders. The ones on the Suffolk side of the border were open, as you'd expect, but we were also pleased to find the Norfolk churches of Fritton and Bradwell open to strangers and pilgrims. The grim parish church at dismal Hopton was padlocked up to the eyeballs, and the graffiti-stricken Belton church appeared to have been completely abandoned, a ruin in the making. It was with some relief that we decided to head back south into gentle Suffolk - the alternative, leaving the peninsula via Yarmouth, was too awful a prospect to contemplate.

Where to go next? I hadn't been to Barnby or North Cove for a number of years, and so I suggested that we take a look there. Both churches have no less than three keyholders each, but at each church not a single one of them answered the phone - perhaps they were all at a keyholders' conference or something.

 

Inevitably then, my thoughts turned to Barsham, a bit further down the road on the other side of Beccles. Barnby and North Cove straddle the A146, a rat-run between Bungay and the sea. It is not a road a cyclist should spend any amount of time on. But the Church of the Most Holy Trinity is gorgeous in its setting across a meadow from the road. Once in its pretty churchyard, the sound of the traffic is left behind. The splendid former rectory slumbers just beyond the fence. This was one of Suffolk's great Anglo-catholic shrines, and generations of visitors have made the same journey as we were making. And even before that extraordinary movement reared its head, this parish touched the world in a significant way, at least once.

 

The exterior of this building is the most beautiful of any small church in Suffolk. I dare say that the setting was even more idyllic before the elm trees which Arthur Mee saw here in the 1930s were lost to Dutch Elm disease. The most striking feature is at the east end. Here, like an extension of the window, an extraordinary flint lattice spreads across the face of the wall. It has been variously dated as anything between the early 12th century and the late 19th century; Clive Hart, in his excellent book East Anglian Flushwork, dates it as 16th Century. It is most unusual; there's nothing exactly like it anywhere else in Suffolk, although something rather similar has been picked out in brick on the east wall at Spexhall. Near the south porch sits a memorial to one of the famous names associated with Barsham. Adrian Bell was the finest author to write books about Suffolk in the 20th century, particularly Corduroy and Silver Ley. He was the father of the white-suited former Independent MP, Martin Bell.

 

Curiously,the tower and nave are not fully joined above head height. There is a window in the west wall of the nave, suggesting that the body of the church here is older than the tower against which it stands - or, more precisely, the west wall is. The Caen stone of the south doorway suggests a post-1066 date for that feature, at least. You step down into a charming, devotional space. The chapel to St Catherine on the north side creates an unusual dynamic, the chancel pressed as it is against the south wall. As elsewhere in Suffolk, much work was done here from the 1870s onwards. The restoring architect was Charles Kempe, best known these days for the glass he produced in vast volume.

 

Kempe had a number of assistants during his long career, two of whom would have a part to play in the story of this church. One was Frederick Eden, who would return here at the start of the new century and furnish this understated, devotional shrine. His loving and meticulous attention to detail is ultimately what, internally at least, makes Holy Trinity the church it is today. He was responsible for the rebuilding and furnishing of the chapel of St Catherine in 1908. He found a Norman font bowl under the chapel floorboards, which is now on display there. Also his are the communion rails, the sanctuary carpet, the aumbry, the war memorial and even the lychgate outside. Most important of all, however, is the glass, which is almost all his.

 

The other Kempe apprentice was the young Ninian Comper, that flamboyant Anglo-catholic, whose finest hour, in East Anglia at least, would come up the road at Lound. The church guide quotes a letter which the nineteen year old Comper wrote to his mother from Barsham rectory on Good Friday 1883: Dearest Mother mine, it is a lovely place - a sweet rectory in the midst of splendid trees & the little church almost touching the house. There is a curious East window all in diamond tracery down to the cill and most of the diamonds contain a Saint or Angel painted by my master so I feel at home. And there is a pretty Elizabethan screen, done up & supplied with a rood and iron gates by my master also. Mr Williams is what I call a regular thorough priest and not a rector or a clergyman and is much to my mind but Father knows him well, I believe, and so need not try to dwell upon his virtues!

 

The rood screen is very unusual - again, there's nothing quite like it anywhere else in Suffolk. It is probably Laudian, as at Kedington, having been put up in the 1630s to replace that torn down at the Reformation a century before.The rood, which is not the one Comper saw, and the arch of honour were put up in the 1890s, and painted in 1919. I can't help thinking that the archway has a DIY feel to it, but the little statues are rather sweet. Another unusual feature of the church is the restored low side window in the chancel. The shutter and its hinges were made by a local blacksmith, probably under the supervision of Kempe. The window above shows Jesus healing the ten lepers, a reference to the then-current misguided belief that low side windows had something to do with allowing lepers a view of the altar. This idea has now been entirely discredited, but still the window remains, a memory of the enthusiasm for the medieval in the last years of the 19th century.

 

A roughly surviving St Christopher wall painting is discernible on the north wall of the nave. These are relatively common in this part of East Anglia, and you probably wouldn't notice this one unless you looked for it. The length of the wall is now taken up with the famious England Expects That Every Man Will Do His Duty signal in flags. There's a good reason for this, as we will see. The George III coat of arms comes from nearby Shipmeadow, now a private house, as do the paschal candlestick and the Jacobean Holy Table in the rebuilt chapel of St Catherine. A simpler memory of the past is the memorial board to Harry Stebbings, gassed in the First World War, which was painted by Arthur Batchelor of Norwich at cost of materials only, according to the Rector of the time. More elaborate is the important terracotta table tomb, one of seven in East Anglia, built from parts manufactured in and shipped from Flanders in the 1520s. It was probably to Sir Edward Etchingham, and it served as an Easter sepulchre. There are also a number of floor brasses and ledger stones. The 'rectors and patrons' board was salvaged from a Catholic church in Norwich, presumably the Jesuit chapel in Willow Lane.

 

On the 8th of February 1906, lightning struck the east end of the church, destroying the stonework of the east window and smashing the medieval mensa which had been reinstalled on the high altar. The fund raised to repair this damage also paid for the building of the north aisle as the chapel of St Catherine. In 1979, a fire destroyed the nave roof, and scorch marks caused by fallen clumps of smouldering straw can still be seen on several benches.

 

There are a number of Suffolk churches where a dynasty of vicars has handed the living down through the generations. Most famous, perhaps, are the Wallers at Waldringfield, where present rector John Waller is fourth in an unbroken line stretching back to the 1850s.

 

But here at Barsham, the situation is illustrated in extremis. The Suckling family held the living here from the 17th century right up until the parish was merged into a benefice in the late 20th century. They were the local landed family, and in a position to present themselves to the living on each occasion. This was not unusual, up until the mid-19th century, but the Sucklings carried the tradition beyond that. This was partly by tenaciously bequeathing the property, presentation rights and living to distant cousins when the male line died out, on the condition that the recipient changed his name to Suckling before inheriting. Marriage to a Suckling daughter was another way of qualifying.

 

But the other thing that ensured this remarkable dynasty's survival was the way they embraced Anglo-catholicism so wholeheartedly, at a time when a career in the Church was increasingly seen as a poor alternative to the fortunes to be made out in the British Empire. They tapped into the energy of the movement in the East End of London, where they also presented livings.

 

They were particularly associated with the extreme High Church social action movement of the late 19th century, being good friends of Father McKonochie, one of a number of Anglican priests shamefully prosecuted by the Church of England and imprisoned for 'popish practices'. McKonchie retired, a broken man, to Barsham Rectory, before his life ended tragically some five years later. He is remembered by a memorial at the west end of the north aisle here. The Sucklings were also associated with the nearby Anglican convent of All Hallows, at Ditchingham in Norfolk, an institution that scandalised upright Victorian protestants. As at Claydon, the parish priest here suffered vile abuse for his connection with it.

 

For a few people, this church is a place of pilgrimage for reasons unconnected with its colourful liturgical history. In the 18th century, one of the Suckling daughters grew up to be mother of Admiral Horatio Nelson. In the days when a patriotic pride was taken in the waging of war and advance of imperial adventure, Nelson was considered a great British hero.

 

Simon Knott, June 2008

 

www.suffolkchurches.co.uk/barsham.html

It seems an age ago, well these were different times, that I found a friend, John Vigar, was doing a tour of some East Kent churches. It had been some time since we last met, so I said I would go along, and he kindly waived my costs.

 

Of the four churches he was planning to visit, I had not seen inside two, so it seemed an ideal chance.

 

And then the world changed.

 

But, the tour was to go ahead, and plans were made to meet at Holy Trinity at eleven.

 

Ramsgate, Broadstairs, Dumpton and Margate now merge into one large town, spreading over the Isle of Thanet, so finding the church was given to the sat nav, which guided me down main roads to the church, where there was a parking space nearby.

 

Inside a service, mass, had just ended. I looked round and could see stations of the cross, icons. So this was high.

 

I can't claim to understand the different flavours of faith, but the vicar was very welcoming, he told me some of the history of his calling, the places he has ministered.

 

The church was well proportioned, but in the 1970s, a church hall was built at the east end of the church, making what is left, jarring.

 

But it is a fine, 19th century church, one built to serve the large community living near the harbour, rather than the old parish church at St Peter. This community would soon need a second new church, St George.

 

-------------------------------------------

 

Holy Trinity Ramsgate, a flint clad church, stands on the east cliff of Ramsgate close to the Royal Harbour. The Church was consecrated in 1845 and has always maintained a Catholic tradition, firmly anchored in the Anglican Church. Holy Trinity is a Resolution and Society church under the See of Richborough.

 

The principal Sunday Worship is a Sung Mass with sermon accompanied by fine organ music and the Rite used is Common Worship. There are masses every Tuesday morning and Wednesday evening. We have a thriving Sunday School and we have recently instituted a re-generation programme and we are now a church in growth. We also have an active choir that is always happy to accept new members. Come and join us, a warm welcome awaits you.

 

holytrinitychurchramsgate.com/about-us/

 

-------------------------------------------

 

Location

Statutory Address:

CHURCH OF THE HOLY TRINITY, BELLEVUE ROAD

The building or site itself may lie within the boundary of more than one authority.

 

County:

Kent

District:

Thanet (District Authority)

Parish:

Ramsgate

National Grid Reference:

TR 38669 65333

Details

RAMSGATE BELLEVUE ROAD TR 3865 SE (west side) 10/56 Church of the Holy Trinity GV II Parish Church. 1844-5. Stevens and Alexander of London. Coursed, knapped flint with Caen stone dressings and concrete interlocking tiles to roof. Nave with aisles and south porch and chancel in perpendicular style. Triple offset and pinnacled buttresses to nave and aisle west end, with double gable to west, and plank and stud door with label surround below large 5 light window. Smaller 3 light windows to aisles, west end, with arched 2 light windows elsewhere and square headed 2 light clerestory windows. Gabled south porch with arched and hooded surrounds to outer and inner doors. Simple offset buttresses to east ends of nave and aisles, and eastern bell gable. Small and plain projecting chancel. Interior: now used as church and church hall with panelled entrance lobby to both parts. Large double chamfered arcade on octagonal moulded piers, with similar channel arch. Fittings: pulpit and lectern, very dark varnished wood with much figurative sculpture, 1867 by J E Lock-Beveridge. The church cost £3000, with seating for 770, on a site given by the D'Este family of Mount Albion House (the children of Prince Frederick Augustus and Lady Augusta Murray) (Busson, Ramsgate, 106;) (See also B.O.E. Kent II. 426; Honan. Victorian Churches of Kent, 83).

  

Listing NGR: TR3866965333

 

historicengland.org.uk/listing/the-list/list-entry/1085426

It seems an age ago, well these were different times, that I found a friend, John Vigar, was doing a tour of some East Kent churches. It had been some time since we last met, so I said I would go along, and he kindly waived my costs.

 

Of the four churches he was planning to visit, I had not seen inside two, so it seemed an ideal chance.

 

And then the world changed.

 

But, the tour was to go ahead, and plans were made to meet at Holy Trinity at eleven.

 

Ramsgate, Broadstairs, Dumpton and Margate now merge into one large town, spreading over the Isle of Thanet, so finding the church was given to the sat nav, which guided me down main roads to the church, where there was a parking space nearby.

 

Inside a service, mass, had just ended. I looked round and could see stations of the cross, icons. So this was high.

 

I can't claim to understand the different flavours of faith, but the vicar was very welcoming, he told me some of the history of his calling, the places he has ministered.

 

The church was well proportioned, but in the 1970s, a church hall was built at the east end of the church, making what is left, jarring.

 

But it is a fine, 19th century church, one built to serve the large community living near the harbour, rather than the old parish church at St Peter. This community would soon need a second new church, St George.

 

-------------------------------------------

 

Holy Trinity Ramsgate, a flint clad church, stands on the east cliff of Ramsgate close to the Royal Harbour. The Church was consecrated in 1845 and has always maintained a Catholic tradition, firmly anchored in the Anglican Church. Holy Trinity is a Resolution and Society church under the See of Richborough.

 

The principal Sunday Worship is a Sung Mass with sermon accompanied by fine organ music and the Rite used is Common Worship. There are masses every Tuesday morning and Wednesday evening. We have a thriving Sunday School and we have recently instituted a re-generation programme and we are now a church in growth. We also have an active choir that is always happy to accept new members. Come and join us, a warm welcome awaits you.

 

holytrinitychurchramsgate.com/about-us/

 

-------------------------------------------

 

Location

Statutory Address:

CHURCH OF THE HOLY TRINITY, BELLEVUE ROAD

The building or site itself may lie within the boundary of more than one authority.

 

County:

Kent

District:

Thanet (District Authority)

Parish:

Ramsgate

National Grid Reference:

TR 38669 65333

Details

RAMSGATE BELLEVUE ROAD TR 3865 SE (west side) 10/56 Church of the Holy Trinity GV II Parish Church. 1844-5. Stevens and Alexander of London. Coursed, knapped flint with Caen stone dressings and concrete interlocking tiles to roof. Nave with aisles and south porch and chancel in perpendicular style. Triple offset and pinnacled buttresses to nave and aisle west end, with double gable to west, and plank and stud door with label surround below large 5 light window. Smaller 3 light windows to aisles, west end, with arched 2 light windows elsewhere and square headed 2 light clerestory windows. Gabled south porch with arched and hooded surrounds to outer and inner doors. Simple offset buttresses to east ends of nave and aisles, and eastern bell gable. Small and plain projecting chancel. Interior: now used as church and church hall with panelled entrance lobby to both parts. Large double chamfered arcade on octagonal moulded piers, with similar channel arch. Fittings: pulpit and lectern, very dark varnished wood with much figurative sculpture, 1867 by J E Lock-Beveridge. The church cost £3000, with seating for 770, on a site given by the D'Este family of Mount Albion House (the children of Prince Frederick Augustus and Lady Augusta Murray) (Busson, Ramsgate, 106;) (See also B.O.E. Kent II. 426; Honan. Victorian Churches of Kent, 83).

  

Listing NGR: TR3866965333

 

historicengland.org.uk/listing/the-list/list-entry/1085426

The only place in Kent that begins with the letter Q that has a church.

 

Just so you know.

 

I have John Vigar to blame for me crossing over onto the island, I never usually crib on a church before I go, but I did wonder if Holy Trinity was worth a visit.

 

Turns out it very much was, and as I was just the other side of The Swale, a short drive to get here.

 

Queenborough is an industrial, busy, tightly packed place, like a borough of London uprooted into the Kent marshes.

 

It seems so unlikely to have a fine church, but then the town is ancient, and the links with the sea, long.

 

I followed the sat nav past the old castle mound, and to the church, on a main road in residential housing.

 

First look was unpromising, with what looked like a garden shed bolted on the north side: turns out this is the vestry, and in a poor state. But the churchyard was packed full of interesting and grand monuments.

 

Don't know why I'm trying to get in, I told myself as I walked to the porch, bound to be locked.

 

But the porch door is unlocked, and although the church is empty, I can hear people in the vestry to the north, I try to make as much noise as possible so not to surprise them.

 

My eye goes straight to the font of 1610, and then the painted ceiling, the details of which are partially hidden under nearly a century-old covering of soot, but still stunning.

 

-------------------------------------------

 

The town of Queenborough grew to serve the long-vanished castle which had been founded in the fourteenth century by Edward III. The church - which should not be missed - dates from 1366 and consists of nave, chancel, west tower and south porch. Its churchyard is entirely crowded with headstones to those associated with the Royal Dockyard at Sheerness. Inside the church are two main items of interest. The most striking is the nave roof which is ceiled and painted with looming clouds. This work dates from the seventeenth century, as does the other item of note: the font. This is dated 1610 and includes a finely carved picture of Queenborough Castle, with four corner turrets and two cannon halfway up the walls. The fine Royal Arms are of Queen Anne's reign - the lion has the head of Charles I - and show the loyalty of the people of Queenborough to the monarch who had granted them their town charter.

 

www.kentchurches.info/church.asp?p=Queenborough

 

-------------------------------------------

 

QUEENBOROUGH,

THE parish of which lies the next adjoining southwestward from that of Minster, on the western shore of this island, was so called in honor of Philippa, queen to Edward III.

 

THERE was an antient castle here, called the Castle of Shepey, situated at the western mouth of the Swale formerly, as has been already mentioned, accounted likewise the mouth of the river Thames, which was built for the defence both of the island and the passage on the water, the usual one then being between the main land of the county and this island.

 

This castle was begun to be new built by king Edward III. about the year 1361, being the 36th of his reign, (fn. 1) and was finished about six years afterwards, being raised, as he himself says in his letters patent, in his 42d year, for the strength of the realm, and for the refuge of the inhabitants of this island.

 

This was undertaken under the inspection of William of Wickham, the king's chief architect, afterwards bishop of Winchester, who considering the difficulties arising from the nature of the ground, and the lowness of the situation, acquitted himself in this task with his usual skill and abilities, and erected here a large, strong, and magnificent building, fit equally for the defence of the island, and the reception of his royal master. When it was finished, the king paid a visit to it, and remained here for some days, during which time he made this place a free borough, in honor of Philippa his queen, naming it from thence Queenborough, and by charter in 1366, he created it a corporation, making the townsmen burgesses, and giving them power to choose yearly a mayor and two bailiffs, who should make their oath of allegiance before the constable of the castle, and be justices within the liberties of the corporation, exclusive of all others; and endowing them with cognizance of pleas, with the liberty of two markets weekly on Mondays and Thursdays, and two fairs yearly, one on the eve of our Lady, and the other on the feast of St. James, and benefiting them with freedom of tholle, and several other privileges, which might induce men to inhabit this place. Three years after which, as a further favor to it, he appoined a staple for wool at it.

 

King Henry VIII. repaired this castle in the year 1536, at the time he rebuilt several others in these parts, for the defence of the sea-coast; but even then it was become little more than a mansion for the residence of the constable of it. And Mr. Johnston, in his book intitled Iter Plantarum Investigationis ergo susceptum, anno 1629, tells us, that he saw in this castle at that time, a noble large dining-room or hall, round the top of which were placed the arms of the nobility and gentry of Kent, and in the middle those of queen Elizabeth, with the following verses underneath:

Lilia virgineum pectus regale leonis

Significant; vivas virgo, regasque leo:

Umbra placet vultus, vultus quia mentis imago;

Mentis imago placet, mens quia plena Deo:

Virgo Deum vita, Regina imitata regendo,

Viva mihi vivi fiat imago Dei.

Qui leo de Juda est, et flos de jesse, leones

Protegat et flores, Elizabetha, tuos.

 

Lillies the lion's virgin breast explain,

Then live a virgin, and a lion reign.

Pictures are pleasing, for the mind they shew;

And in the mind the Deity we view:

May she who God in life and empire shews,

To me th' eternal Deity disclose!

May Jesse's flower, and Judah's lion deign

Thy flowers and lions to protect, great Queen.

 

¶In this situation it continued till the death of king Charles I. in 1648; soon after which the state seized on this castle, among the rest of the possessions of the crown, and then vested them in trustees, to be surveyed and sold, to supply the necessities of government, accordingly this castle was surveyed in 1650, when it appears to have consisted of a capital messuage, called Queenborough-castle, lying within the common belonging to the town, called Queenborough Marsh, in the parish of Minster, and containing about twelve rooms of one range of buildings below stairs, and of about forty rooms from the first story upwards, being circular and built of stone, with six towers, and certain out-offices belonging to it, the roof being covered with lead; that within the circumference of the castle was one little round court, paved with stone, and in the middle of that one great well, and without the castle was one great court surrounding it; both court and castle being surrounded with a great stone wall, and the outside of that moated round, the whole containing upwards of three acres of land. That the whole was much out of repair, and no ways defensive by the commonwealth, or the island on which it stood, being built in the time of bows and arrows. That as no platform for the planting of cannon could be erected on it, and it having no command of the sea, although near unto it, they adjudged it not fit to be kept, but demolished, and that the materials were worth, besides the charge of taking down, 1792l. 12½d.

 

The above survey sufficiently points out the size and grandeur of this building, which was soon afterwards sold to Mr. John Wilkinson, who pulled the whole of it down and removed the materials.

 

The scite of the castle remained in his possession afterwards till the restoration of king Charles II. when the inheritance of it returned again to the crown, where it has continued ever since. There are no remains of the castle or walls to be seen at this time, only the moat continues still as such, and the antient well in the middle of the scite within it, a further account of which will be given hereafter.

 

THE CONSTABLES of this castle were men of considerable rank, as appears by the following lift of them:

 

In the reign of queen Elizabeth, the annual fee of the keeper of this castle was 29l. 2s. 6d. (fn. 7)

 

ALTHOUGH Queenborough was formerly, whilst the castle waas standing, a place of much more consequence than it is at present, yet as to its size and number of inhabitants, it was much less so; for in the reign of queen Elizabeth, as may be seen by the return made of it in the 8th year of that reign, it ap pears, that there were here houses inhabited only 23; persons lacking proper habitation one; boats and ships twelve, from four tons to sixteen; and a key and landing-place to the town; proper persons occupied in carrying things from port to port, and in fishing, forty-five. At present this town consists of one principal wide street, the houses of which are neat, and mostly well-built, in number about one hundred and twenty, or more. The market house is a small antient brick building, in the middle of the street, with a room over over it. The court-hall is the upper part of a mean plaistered dwelling-house, close to the church-yard.

 

Notwithstanding the above-mentioned increase both of houses and inhabitants, it is, even now, but a poor fishing town, consisting chiefly of alehousekeepers, fishermen, and dredgers for oysters; the principal source of wealth to it being the election for members of parliment, which secures to some of the chief inhabitants many lucrative places in the ordnance, and other branches of government.

 

The corporation still subsists, consisting of a mayor, chosen on Sept. 29th, four jurats, two bailiffs, a recorder, town-clerk, chamberlain, and other officers, chosen annually by the free burgesses of the town and parish. (fn. 8)

 

The liberties of the corporation extend by water from the point of land joining to the river Medway to King's Ferry.

 

The arms of the town are, On a mount vert, a tower, with five spires on it, argent.

 

There is a copper as-work carried on in this place, which is the property of several different persons.

 

¶Though the water throughout the whole island of Shepey has been mentioned before to be in general exceeding unwholesome and brackish, yet the well be fore-mentioned on the scite of the castle here, is one of the exceptions to it. This well has been useless for many years, having little or no water in it, though several attempts had been made to restore it, when in the year 1723 it was more effectually opened by order of the commissioners of the navy, a full account of which was communicated to the Royal Society by Mr. Peter Collinson, F. R. S. (fn. 9) The depth of it was then found to be two hundred feet, and artificially steamed, the whole of it with circular Portland stone, the mean diameter four feet eight inches, there was little or no water then in it; on boring down they brought up a very close blueish clay, and after three days endeavours the augur slipping down, the water flowed up very fast, and kept increasing for some days, till there was one hundred and seventy six feet and upwards depth of water; what was extraordinary, they bored eighty-one feet below the trunk they had fixed four feet below the curb at the bottom of the well, before they met with this body of water, which by comparison is one hundred and sixty-six feet below the deepest place in the adjacent seas. This water proved excellently good, soft, sweet, and fine, and in such plenty as in great measure, excepting in time of war, when there is a more than ordinary call for it, to supply the inhabitants, as well as the shipping and several departments of government, which, jointly with the new well at Sheerness before-described, it now fully does.

 

The corporation have taken upon themselves to repair this well for several years past, at their own expence; notwithstanding which, it still continues the property of the crown, there having never yet been any grant made of it.

 

Anno 7 George III. an act passed for the better and more effectual maintenance and relief of the poor of the borough and parish of Queen borough.

 

Though Queenborough was made a borough by king Edward III. as before-mentioned, yet it had not the privilege of returning burgesses to parliament till the 13th year of queen Elizabeth's reign, in which year it made its first return of them.

 

QUEENBOROUGH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.

 

¶The church, which is dedicated to the Holy Trinity, is a handsome building, consisting of one isle and one chancel; it is decorated with a painted roof, and other ornaments, and very neatly kept. There is a high-raised seat in it, for the mayor and two bailiffs. The whole of it was raised, paved, and ceiled, and the gallery at the west end, erected by Thomas King, esq. the first time he was elected member of parliament in 1695. It has a square tower steeple at the west end, which seems much older than the church itself, and at the top of it there is a small wooden turret, in which hang five bells. It was once accounted as a chapel to the mother church of Minster, and belonged with it to the monastery of St. Sexburg in that parish, but it has long since been independent of it.

 

It is now esteemed as a donative, in the gift of the corporation of this place, and is of the yearly certified value of 20l. 2s. 6d.

 

www.british-history.ac.uk/survey-kent/vol6/pp233-245

The only place in Kent that begins with the letter Q that has a church.

 

Just so you know.

 

I have John Vigar to blame for me crossing over onto the island, I never usually crib on a church before I go, but I did wonder if Holy Trinity was worth a visit.

 

Turns out it very much was, and as I was just the other side of The Swale, a short drive to get here.

 

Queenborough is an industrial, busy, tightly packed place, like a borough of London uprooted into the Kent marshes.

 

It seems so unlikely to have a fine church, but then the town is ancient, and the links with the sea, long.

 

I followed the sat nav past the old castle mound, and to the church, on a main road in residential housing.

 

First look was unpromising, with what looked like a garden shed bolted on the north side: turns out this is the vestry, and in a poor state. But the churchyard was packed full of interesting and grand monuments.

 

Don't know why I'm trying to get in, I told myself as I walked to the porch, bound to be locked.

 

But the porch door is unlocked, and although the church is empty, I can hear people in the vestry to the north, I try to make as much noise as possible so not to surprise them.

 

My eye goes straight to the font of 1610, and then the painted ceiling, the details of which are partially hidden under nearly a century-old covering of soot, but still stunning.

 

-------------------------------------------

 

The town of Queenborough grew to serve the long-vanished castle which had been founded in the fourteenth century by Edward III. The church - which should not be missed - dates from 1366 and consists of nave, chancel, west tower and south porch. Its churchyard is entirely crowded with headstones to those associated with the Royal Dockyard at Sheerness. Inside the church are two main items of interest. The most striking is the nave roof which is ceiled and painted with looming clouds. This work dates from the seventeenth century, as does the other item of note: the font. This is dated 1610 and includes a finely carved picture of Queenborough Castle, with four corner turrets and two cannon halfway up the walls. The fine Royal Arms are of Queen Anne's reign - the lion has the head of Charles I - and show the loyalty of the people of Queenborough to the monarch who had granted them their town charter.

 

www.kentchurches.info/church.asp?p=Queenborough

 

-------------------------------------------

 

QUEENBOROUGH,

THE parish of which lies the next adjoining southwestward from that of Minster, on the western shore of this island, was so called in honor of Philippa, queen to Edward III.

 

THERE was an antient castle here, called the Castle of Shepey, situated at the western mouth of the Swale formerly, as has been already mentioned, accounted likewise the mouth of the river Thames, which was built for the defence both of the island and the passage on the water, the usual one then being between the main land of the county and this island.

 

This castle was begun to be new built by king Edward III. about the year 1361, being the 36th of his reign, (fn. 1) and was finished about six years afterwards, being raised, as he himself says in his letters patent, in his 42d year, for the strength of the realm, and for the refuge of the inhabitants of this island.

 

This was undertaken under the inspection of William of Wickham, the king's chief architect, afterwards bishop of Winchester, who considering the difficulties arising from the nature of the ground, and the lowness of the situation, acquitted himself in this task with his usual skill and abilities, and erected here a large, strong, and magnificent building, fit equally for the defence of the island, and the reception of his royal master. When it was finished, the king paid a visit to it, and remained here for some days, during which time he made this place a free borough, in honor of Philippa his queen, naming it from thence Queenborough, and by charter in 1366, he created it a corporation, making the townsmen burgesses, and giving them power to choose yearly a mayor and two bailiffs, who should make their oath of allegiance before the constable of the castle, and be justices within the liberties of the corporation, exclusive of all others; and endowing them with cognizance of pleas, with the liberty of two markets weekly on Mondays and Thursdays, and two fairs yearly, one on the eve of our Lady, and the other on the feast of St. James, and benefiting them with freedom of tholle, and several other privileges, which might induce men to inhabit this place. Three years after which, as a further favor to it, he appoined a staple for wool at it.

 

King Henry VIII. repaired this castle in the year 1536, at the time he rebuilt several others in these parts, for the defence of the sea-coast; but even then it was become little more than a mansion for the residence of the constable of it. And Mr. Johnston, in his book intitled Iter Plantarum Investigationis ergo susceptum, anno 1629, tells us, that he saw in this castle at that time, a noble large dining-room or hall, round the top of which were placed the arms of the nobility and gentry of Kent, and in the middle those of queen Elizabeth, with the following verses underneath:

Lilia virgineum pectus regale leonis

Significant; vivas virgo, regasque leo:

Umbra placet vultus, vultus quia mentis imago;

Mentis imago placet, mens quia plena Deo:

Virgo Deum vita, Regina imitata regendo,

Viva mihi vivi fiat imago Dei.

Qui leo de Juda est, et flos de jesse, leones

Protegat et flores, Elizabetha, tuos.

 

Lillies the lion's virgin breast explain,

Then live a virgin, and a lion reign.

Pictures are pleasing, for the mind they shew;

And in the mind the Deity we view:

May she who God in life and empire shews,

To me th' eternal Deity disclose!

May Jesse's flower, and Judah's lion deign

Thy flowers and lions to protect, great Queen.

 

¶In this situation it continued till the death of king Charles I. in 1648; soon after which the state seized on this castle, among the rest of the possessions of the crown, and then vested them in trustees, to be surveyed and sold, to supply the necessities of government, accordingly this castle was surveyed in 1650, when it appears to have consisted of a capital messuage, called Queenborough-castle, lying within the common belonging to the town, called Queenborough Marsh, in the parish of Minster, and containing about twelve rooms of one range of buildings below stairs, and of about forty rooms from the first story upwards, being circular and built of stone, with six towers, and certain out-offices belonging to it, the roof being covered with lead; that within the circumference of the castle was one little round court, paved with stone, and in the middle of that one great well, and without the castle was one great court surrounding it; both court and castle being surrounded with a great stone wall, and the outside of that moated round, the whole containing upwards of three acres of land. That the whole was much out of repair, and no ways defensive by the commonwealth, or the island on which it stood, being built in the time of bows and arrows. That as no platform for the planting of cannon could be erected on it, and it having no command of the sea, although near unto it, they adjudged it not fit to be kept, but demolished, and that the materials were worth, besides the charge of taking down, 1792l. 12½d.

 

The above survey sufficiently points out the size and grandeur of this building, which was soon afterwards sold to Mr. John Wilkinson, who pulled the whole of it down and removed the materials.

 

The scite of the castle remained in his possession afterwards till the restoration of king Charles II. when the inheritance of it returned again to the crown, where it has continued ever since. There are no remains of the castle or walls to be seen at this time, only the moat continues still as such, and the antient well in the middle of the scite within it, a further account of which will be given hereafter.

 

THE CONSTABLES of this castle were men of considerable rank, as appears by the following lift of them:

 

In the reign of queen Elizabeth, the annual fee of the keeper of this castle was 29l. 2s. 6d. (fn. 7)

 

ALTHOUGH Queenborough was formerly, whilst the castle waas standing, a place of much more consequence than it is at present, yet as to its size and number of inhabitants, it was much less so; for in the reign of queen Elizabeth, as may be seen by the return made of it in the 8th year of that reign, it ap pears, that there were here houses inhabited only 23; persons lacking proper habitation one; boats and ships twelve, from four tons to sixteen; and a key and landing-place to the town; proper persons occupied in carrying things from port to port, and in fishing, forty-five. At present this town consists of one principal wide street, the houses of which are neat, and mostly well-built, in number about one hundred and twenty, or more. The market house is a small antient brick building, in the middle of the street, with a room over over it. The court-hall is the upper part of a mean plaistered dwelling-house, close to the church-yard.

 

Notwithstanding the above-mentioned increase both of houses and inhabitants, it is, even now, but a poor fishing town, consisting chiefly of alehousekeepers, fishermen, and dredgers for oysters; the principal source of wealth to it being the election for members of parliment, which secures to some of the chief inhabitants many lucrative places in the ordnance, and other branches of government.

 

The corporation still subsists, consisting of a mayor, chosen on Sept. 29th, four jurats, two bailiffs, a recorder, town-clerk, chamberlain, and other officers, chosen annually by the free burgesses of the town and parish. (fn. 8)

 

The liberties of the corporation extend by water from the point of land joining to the river Medway to King's Ferry.

 

The arms of the town are, On a mount vert, a tower, with five spires on it, argent.

 

There is a copper as-work carried on in this place, which is the property of several different persons.

 

¶Though the water throughout the whole island of Shepey has been mentioned before to be in general exceeding unwholesome and brackish, yet the well be fore-mentioned on the scite of the castle here, is one of the exceptions to it. This well has been useless for many years, having little or no water in it, though several attempts had been made to restore it, when in the year 1723 it was more effectually opened by order of the commissioners of the navy, a full account of which was communicated to the Royal Society by Mr. Peter Collinson, F. R. S. (fn. 9) The depth of it was then found to be two hundred feet, and artificially steamed, the whole of it with circular Portland stone, the mean diameter four feet eight inches, there was little or no water then in it; on boring down they brought up a very close blueish clay, and after three days endeavours the augur slipping down, the water flowed up very fast, and kept increasing for some days, till there was one hundred and seventy six feet and upwards depth of water; what was extraordinary, they bored eighty-one feet below the trunk they had fixed four feet below the curb at the bottom of the well, before they met with this body of water, which by comparison is one hundred and sixty-six feet below the deepest place in the adjacent seas. This water proved excellently good, soft, sweet, and fine, and in such plenty as in great measure, excepting in time of war, when there is a more than ordinary call for it, to supply the inhabitants, as well as the shipping and several departments of government, which, jointly with the new well at Sheerness before-described, it now fully does.

 

The corporation have taken upon themselves to repair this well for several years past, at their own expence; notwithstanding which, it still continues the property of the crown, there having never yet been any grant made of it.

 

Anno 7 George III. an act passed for the better and more effectual maintenance and relief of the poor of the borough and parish of Queen borough.

 

Though Queenborough was made a borough by king Edward III. as before-mentioned, yet it had not the privilege of returning burgesses to parliament till the 13th year of queen Elizabeth's reign, in which year it made its first return of them.

 

QUEENBOROUGH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.

 

¶The church, which is dedicated to the Holy Trinity, is a handsome building, consisting of one isle and one chancel; it is decorated with a painted roof, and other ornaments, and very neatly kept. There is a high-raised seat in it, for the mayor and two bailiffs. The whole of it was raised, paved, and ceiled, and the gallery at the west end, erected by Thomas King, esq. the first time he was elected member of parliament in 1695. It has a square tower steeple at the west end, which seems much older than the church itself, and at the top of it there is a small wooden turret, in which hang five bells. It was once accounted as a chapel to the mother church of Minster, and belonged with it to the monastery of St. Sexburg in that parish, but it has long since been independent of it.

 

It is now esteemed as a donative, in the gift of the corporation of this place, and is of the yearly certified value of 20l. 2s. 6d.

 

www.british-history.ac.uk/survey-kent/vol6/pp233-245

The only place in Kent that begins with the letter Q that has a church.

 

Just so you know.

 

I have John Vigar to blame for me crossing over onto the island, I never usually crib on a church before I go, but I did wonder if Holy Trinity was worth a visit.

 

Turns out it very much was, and as I was just the other side of The Swale, a short drive to get here.

 

Queenborough is an industrial, busy, tightly packed place, like a borough of London uprooted into the Kent marshes.

 

It seems so unlikely to have a fine church, but then the town is ancient, and the links with the sea, long.

 

I followed the sat nav past the old castle mound, and to the church, on a main road in residential housing.

 

First look was unpromising, with what looked like a garden shed bolted on the north side: turns out this is the vestry, and in a poor state. But the churchyard was packed full of interesting and grand monuments.

 

Don't know why I'm trying to get in, I told myself as I walked to the porch, bound to be locked.

 

But the porch door is unlocked, and although the church is empty, I can hear people in the vestry to the north, I try to make as much noise as possible so not to surprise them.

 

My eye goes straight to the font of 1610, and then the painted ceiling, the details of which are partially hidden under nearly a century-old covering of soot, but still stunning.

 

-------------------------------------------

 

The town of Queenborough grew to serve the long-vanished castle which had been founded in the fourteenth century by Edward III. The church - which should not be missed - dates from 1366 and consists of nave, chancel, west tower and south porch. Its churchyard is entirely crowded with headstones to those associated with the Royal Dockyard at Sheerness. Inside the church are two main items of interest. The most striking is the nave roof which is ceiled and painted with looming clouds. This work dates from the seventeenth century, as does the other item of note: the font. This is dated 1610 and includes a finely carved picture of Queenborough Castle, with four corner turrets and two cannon halfway up the walls. The fine Royal Arms are of Queen Anne's reign - the lion has the head of Charles I - and show the loyalty of the people of Queenborough to the monarch who had granted them their town charter.

 

www.kentchurches.info/church.asp?p=Queenborough

 

-------------------------------------------

 

QUEENBOROUGH,

THE parish of which lies the next adjoining southwestward from that of Minster, on the western shore of this island, was so called in honor of Philippa, queen to Edward III.

 

THERE was an antient castle here, called the Castle of Shepey, situated at the western mouth of the Swale formerly, as has been already mentioned, accounted likewise the mouth of the river Thames, which was built for the defence both of the island and the passage on the water, the usual one then being between the main land of the county and this island.

 

This castle was begun to be new built by king Edward III. about the year 1361, being the 36th of his reign, (fn. 1) and was finished about six years afterwards, being raised, as he himself says in his letters patent, in his 42d year, for the strength of the realm, and for the refuge of the inhabitants of this island.

 

This was undertaken under the inspection of William of Wickham, the king's chief architect, afterwards bishop of Winchester, who considering the difficulties arising from the nature of the ground, and the lowness of the situation, acquitted himself in this task with his usual skill and abilities, and erected here a large, strong, and magnificent building, fit equally for the defence of the island, and the reception of his royal master. When it was finished, the king paid a visit to it, and remained here for some days, during which time he made this place a free borough, in honor of Philippa his queen, naming it from thence Queenborough, and by charter in 1366, he created it a corporation, making the townsmen burgesses, and giving them power to choose yearly a mayor and two bailiffs, who should make their oath of allegiance before the constable of the castle, and be justices within the liberties of the corporation, exclusive of all others; and endowing them with cognizance of pleas, with the liberty of two markets weekly on Mondays and Thursdays, and two fairs yearly, one on the eve of our Lady, and the other on the feast of St. James, and benefiting them with freedom of tholle, and several other privileges, which might induce men to inhabit this place. Three years after which, as a further favor to it, he appoined a staple for wool at it.

 

King Henry VIII. repaired this castle in the year 1536, at the time he rebuilt several others in these parts, for the defence of the sea-coast; but even then it was become little more than a mansion for the residence of the constable of it. And Mr. Johnston, in his book intitled Iter Plantarum Investigationis ergo susceptum, anno 1629, tells us, that he saw in this castle at that time, a noble large dining-room or hall, round the top of which were placed the arms of the nobility and gentry of Kent, and in the middle those of queen Elizabeth, with the following verses underneath:

Lilia virgineum pectus regale leonis

Significant; vivas virgo, regasque leo:

Umbra placet vultus, vultus quia mentis imago;

Mentis imago placet, mens quia plena Deo:

Virgo Deum vita, Regina imitata regendo,

Viva mihi vivi fiat imago Dei.

Qui leo de Juda est, et flos de jesse, leones

Protegat et flores, Elizabetha, tuos.

 

Lillies the lion's virgin breast explain,

Then live a virgin, and a lion reign.

Pictures are pleasing, for the mind they shew;

And in the mind the Deity we view:

May she who God in life and empire shews,

To me th' eternal Deity disclose!

May Jesse's flower, and Judah's lion deign

Thy flowers and lions to protect, great Queen.

 

¶In this situation it continued till the death of king Charles I. in 1648; soon after which the state seized on this castle, among the rest of the possessions of the crown, and then vested them in trustees, to be surveyed and sold, to supply the necessities of government, accordingly this castle was surveyed in 1650, when it appears to have consisted of a capital messuage, called Queenborough-castle, lying within the common belonging to the town, called Queenborough Marsh, in the parish of Minster, and containing about twelve rooms of one range of buildings below stairs, and of about forty rooms from the first story upwards, being circular and built of stone, with six towers, and certain out-offices belonging to it, the roof being covered with lead; that within the circumference of the castle was one little round court, paved with stone, and in the middle of that one great well, and without the castle was one great court surrounding it; both court and castle being surrounded with a great stone wall, and the outside of that moated round, the whole containing upwards of three acres of land. That the whole was much out of repair, and no ways defensive by the commonwealth, or the island on which it stood, being built in the time of bows and arrows. That as no platform for the planting of cannon could be erected on it, and it having no command of the sea, although near unto it, they adjudged it not fit to be kept, but demolished, and that the materials were worth, besides the charge of taking down, 1792l. 12½d.

 

The above survey sufficiently points out the size and grandeur of this building, which was soon afterwards sold to Mr. John Wilkinson, who pulled the whole of it down and removed the materials.

 

The scite of the castle remained in his possession afterwards till the restoration of king Charles II. when the inheritance of it returned again to the crown, where it has continued ever since. There are no remains of the castle or walls to be seen at this time, only the moat continues still as such, and the antient well in the middle of the scite within it, a further account of which will be given hereafter.

 

THE CONSTABLES of this castle were men of considerable rank, as appears by the following lift of them:

 

In the reign of queen Elizabeth, the annual fee of the keeper of this castle was 29l. 2s. 6d. (fn. 7)

 

ALTHOUGH Queenborough was formerly, whilst the castle waas standing, a place of much more consequence than it is at present, yet as to its size and number of inhabitants, it was much less so; for in the reign of queen Elizabeth, as may be seen by the return made of it in the 8th year of that reign, it ap pears, that there were here houses inhabited only 23; persons lacking proper habitation one; boats and ships twelve, from four tons to sixteen; and a key and landing-place to the town; proper persons occupied in carrying things from port to port, and in fishing, forty-five. At present this town consists of one principal wide street, the houses of which are neat, and mostly well-built, in number about one hundred and twenty, or more. The market house is a small antient brick building, in the middle of the street, with a room over over it. The court-hall is the upper part of a mean plaistered dwelling-house, close to the church-yard.

 

Notwithstanding the above-mentioned increase both of houses and inhabitants, it is, even now, but a poor fishing town, consisting chiefly of alehousekeepers, fishermen, and dredgers for oysters; the principal source of wealth to it being the election for members of parliment, which secures to some of the chief inhabitants many lucrative places in the ordnance, and other branches of government.

 

The corporation still subsists, consisting of a mayor, chosen on Sept. 29th, four jurats, two bailiffs, a recorder, town-clerk, chamberlain, and other officers, chosen annually by the free burgesses of the town and parish. (fn. 8)

 

The liberties of the corporation extend by water from the point of land joining to the river Medway to King's Ferry.

 

The arms of the town are, On a mount vert, a tower, with five spires on it, argent.

 

There is a copper as-work carried on in this place, which is the property of several different persons.

 

¶Though the water throughout the whole island of Shepey has been mentioned before to be in general exceeding unwholesome and brackish, yet the well be fore-mentioned on the scite of the castle here, is one of the exceptions to it. This well has been useless for many years, having little or no water in it, though several attempts had been made to restore it, when in the year 1723 it was more effectually opened by order of the commissioners of the navy, a full account of which was communicated to the Royal Society by Mr. Peter Collinson, F. R. S. (fn. 9) The depth of it was then found to be two hundred feet, and artificially steamed, the whole of it with circular Portland stone, the mean diameter four feet eight inches, there was little or no water then in it; on boring down they brought up a very close blueish clay, and after three days endeavours the augur slipping down, the water flowed up very fast, and kept increasing for some days, till there was one hundred and seventy six feet and upwards depth of water; what was extraordinary, they bored eighty-one feet below the trunk they had fixed four feet below the curb at the bottom of the well, before they met with this body of water, which by comparison is one hundred and sixty-six feet below the deepest place in the adjacent seas. This water proved excellently good, soft, sweet, and fine, and in such plenty as in great measure, excepting in time of war, when there is a more than ordinary call for it, to supply the inhabitants, as well as the shipping and several departments of government, which, jointly with the new well at Sheerness before-described, it now fully does.

 

The corporation have taken upon themselves to repair this well for several years past, at their own expence; notwithstanding which, it still continues the property of the crown, there having never yet been any grant made of it.

 

Anno 7 George III. an act passed for the better and more effectual maintenance and relief of the poor of the borough and parish of Queen borough.

 

Though Queenborough was made a borough by king Edward III. as before-mentioned, yet it had not the privilege of returning burgesses to parliament till the 13th year of queen Elizabeth's reign, in which year it made its first return of them.

 

QUEENBOROUGH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.

 

¶The church, which is dedicated to the Holy Trinity, is a handsome building, consisting of one isle and one chancel; it is decorated with a painted roof, and other ornaments, and very neatly kept. There is a high-raised seat in it, for the mayor and two bailiffs. The whole of it was raised, paved, and ceiled, and the gallery at the west end, erected by Thomas King, esq. the first time he was elected member of parliament in 1695. It has a square tower steeple at the west end, which seems much older than the church itself, and at the top of it there is a small wooden turret, in which hang five bells. It was once accounted as a chapel to the mother church of Minster, and belonged with it to the monastery of St. Sexburg in that parish, but it has long since been independent of it.

 

It is now esteemed as a donative, in the gift of the corporation of this place, and is of the yearly certified value of 20l. 2s. 6d.

 

www.british-history.ac.uk/survey-kent/vol6/pp233-245

The only place in Kent that begins with the letter Q that has a church.

 

Just so you know.

 

I have John Vigar to blame for me crossing over onto the island, I never usually crib on a church before I go, but I did wonder if Holy Trinity was worth a visit.

 

Turns out it very much was, and as I was just the other side of The Swale, a short drive to get here.

 

Queenborough is an industrial, busy, tightly packed place, like a borough of London uprooted into the Kent marshes.

 

It seems so unlikely to have a fine church, but then the town is ancient, and the links with the sea, long.

 

I followed the sat nav past the old castle mound, and to the church, on a main road in residential housing.

 

First look was unpromising, with what looked like a garden shed bolted on the north side: turns out this is the vestry, and in a poor state. But the churchyard was packed full of interesting and grand monuments.

 

Don't know why I'm trying to get in, I told myself as I walked to the porch, bound to be locked.

 

But the porch door is unlocked, and although the church is empty, I can hear people in the vestry to the north, I try to make as much noise as possible so not to surprise them.

 

My eye goes straight to the font of 1610, and then the painted ceiling, the details of which are partially hidden under nearly a century-old covering of soot, but still stunning.

 

-------------------------------------------

 

The town of Queenborough grew to serve the long-vanished castle which had been founded in the fourteenth century by Edward III. The church - which should not be missed - dates from 1366 and consists of nave, chancel, west tower and south porch. Its churchyard is entirely crowded with headstones to those associated with the Royal Dockyard at Sheerness. Inside the church are two main items of interest. The most striking is the nave roof which is ceiled and painted with looming clouds. This work dates from the seventeenth century, as does the other item of note: the font. This is dated 1610 and includes a finely carved picture of Queenborough Castle, with four corner turrets and two cannon halfway up the walls. The fine Royal Arms are of Queen Anne's reign - the lion has the head of Charles I - and show the loyalty of the people of Queenborough to the monarch who had granted them their town charter.

 

www.kentchurches.info/church.asp?p=Queenborough

 

-------------------------------------------

 

QUEENBOROUGH,

THE parish of which lies the next adjoining southwestward from that of Minster, on the western shore of this island, was so called in honor of Philippa, queen to Edward III.

 

THERE was an antient castle here, called the Castle of Shepey, situated at the western mouth of the Swale formerly, as has been already mentioned, accounted likewise the mouth of the river Thames, which was built for the defence both of the island and the passage on the water, the usual one then being between the main land of the county and this island.

 

This castle was begun to be new built by king Edward III. about the year 1361, being the 36th of his reign, (fn. 1) and was finished about six years afterwards, being raised, as he himself says in his letters patent, in his 42d year, for the strength of the realm, and for the refuge of the inhabitants of this island.

 

This was undertaken under the inspection of William of Wickham, the king's chief architect, afterwards bishop of Winchester, who considering the difficulties arising from the nature of the ground, and the lowness of the situation, acquitted himself in this task with his usual skill and abilities, and erected here a large, strong, and magnificent building, fit equally for the defence of the island, and the reception of his royal master. When it was finished, the king paid a visit to it, and remained here for some days, during which time he made this place a free borough, in honor of Philippa his queen, naming it from thence Queenborough, and by charter in 1366, he created it a corporation, making the townsmen burgesses, and giving them power to choose yearly a mayor and two bailiffs, who should make their oath of allegiance before the constable of the castle, and be justices within the liberties of the corporation, exclusive of all others; and endowing them with cognizance of pleas, with the liberty of two markets weekly on Mondays and Thursdays, and two fairs yearly, one on the eve of our Lady, and the other on the feast of St. James, and benefiting them with freedom of tholle, and several other privileges, which might induce men to inhabit this place. Three years after which, as a further favor to it, he appoined a staple for wool at it.

 

King Henry VIII. repaired this castle in the year 1536, at the time he rebuilt several others in these parts, for the defence of the sea-coast; but even then it was become little more than a mansion for the residence of the constable of it. And Mr. Johnston, in his book intitled Iter Plantarum Investigationis ergo susceptum, anno 1629, tells us, that he saw in this castle at that time, a noble large dining-room or hall, round the top of which were placed the arms of the nobility and gentry of Kent, and in the middle those of queen Elizabeth, with the following verses underneath:

Lilia virgineum pectus regale leonis

Significant; vivas virgo, regasque leo:

Umbra placet vultus, vultus quia mentis imago;

Mentis imago placet, mens quia plena Deo:

Virgo Deum vita, Regina imitata regendo,

Viva mihi vivi fiat imago Dei.

Qui leo de Juda est, et flos de jesse, leones

Protegat et flores, Elizabetha, tuos.

 

Lillies the lion's virgin breast explain,

Then live a virgin, and a lion reign.

Pictures are pleasing, for the mind they shew;

And in the mind the Deity we view:

May she who God in life and empire shews,

To me th' eternal Deity disclose!

May Jesse's flower, and Judah's lion deign

Thy flowers and lions to protect, great Queen.

 

¶In this situation it continued till the death of king Charles I. in 1648; soon after which the state seized on this castle, among the rest of the possessions of the crown, and then vested them in trustees, to be surveyed and sold, to supply the necessities of government, accordingly this castle was surveyed in 1650, when it appears to have consisted of a capital messuage, called Queenborough-castle, lying within the common belonging to the town, called Queenborough Marsh, in the parish of Minster, and containing about twelve rooms of one range of buildings below stairs, and of about forty rooms from the first story upwards, being circular and built of stone, with six towers, and certain out-offices belonging to it, the roof being covered with lead; that within the circumference of the castle was one little round court, paved with stone, and in the middle of that one great well, and without the castle was one great court surrounding it; both court and castle being surrounded with a great stone wall, and the outside of that moated round, the whole containing upwards of three acres of land. That the whole was much out of repair, and no ways defensive by the commonwealth, or the island on which it stood, being built in the time of bows and arrows. That as no platform for the planting of cannon could be erected on it, and it having no command of the sea, although near unto it, they adjudged it not fit to be kept, but demolished, and that the materials were worth, besides the charge of taking down, 1792l. 12½d.

 

The above survey sufficiently points out the size and grandeur of this building, which was soon afterwards sold to Mr. John Wilkinson, who pulled the whole of it down and removed the materials.

 

The scite of the castle remained in his possession afterwards till the restoration of king Charles II. when the inheritance of it returned again to the crown, where it has continued ever since. There are no remains of the castle or walls to be seen at this time, only the moat continues still as such, and the antient well in the middle of the scite within it, a further account of which will be given hereafter.

 

THE CONSTABLES of this castle were men of considerable rank, as appears by the following lift of them:

 

In the reign of queen Elizabeth, the annual fee of the keeper of this castle was 29l. 2s. 6d. (fn. 7)

 

ALTHOUGH Queenborough was formerly, whilst the castle waas standing, a place of much more consequence than it is at present, yet as to its size and number of inhabitants, it was much less so; for in the reign of queen Elizabeth, as may be seen by the return made of it in the 8th year of that reign, it ap pears, that there were here houses inhabited only 23; persons lacking proper habitation one; boats and ships twelve, from four tons to sixteen; and a key and landing-place to the town; proper persons occupied in carrying things from port to port, and in fishing, forty-five. At present this town consists of one principal wide street, the houses of which are neat, and mostly well-built, in number about one hundred and twenty, or more. The market house is a small antient brick building, in the middle of the street, with a room over over it. The court-hall is the upper part of a mean plaistered dwelling-house, close to the church-yard.

 

Notwithstanding the above-mentioned increase both of houses and inhabitants, it is, even now, but a poor fishing town, consisting chiefly of alehousekeepers, fishermen, and dredgers for oysters; the principal source of wealth to it being the election for members of parliment, which secures to some of the chief inhabitants many lucrative places in the ordnance, and other branches of government.

 

The corporation still subsists, consisting of a mayor, chosen on Sept. 29th, four jurats, two bailiffs, a recorder, town-clerk, chamberlain, and other officers, chosen annually by the free burgesses of the town and parish. (fn. 8)

 

The liberties of the corporation extend by water from the point of land joining to the river Medway to King's Ferry.

 

The arms of the town are, On a mount vert, a tower, with five spires on it, argent.

 

There is a copper as-work carried on in this place, which is the property of several different persons.

 

¶Though the water throughout the whole island of Shepey has been mentioned before to be in general exceeding unwholesome and brackish, yet the well be fore-mentioned on the scite of the castle here, is one of the exceptions to it. This well has been useless for many years, having little or no water in it, though several attempts had been made to restore it, when in the year 1723 it was more effectually opened by order of the commissioners of the navy, a full account of which was communicated to the Royal Society by Mr. Peter Collinson, F. R. S. (fn. 9) The depth of it was then found to be two hundred feet, and artificially steamed, the whole of it with circular Portland stone, the mean diameter four feet eight inches, there was little or no water then in it; on boring down they brought up a very close blueish clay, and after three days endeavours the augur slipping down, the water flowed up very fast, and kept increasing for some days, till there was one hundred and seventy six feet and upwards depth of water; what was extraordinary, they bored eighty-one feet below the trunk they had fixed four feet below the curb at the bottom of the well, before they met with this body of water, which by comparison is one hundred and sixty-six feet below the deepest place in the adjacent seas. This water proved excellently good, soft, sweet, and fine, and in such plenty as in great measure, excepting in time of war, when there is a more than ordinary call for it, to supply the inhabitants, as well as the shipping and several departments of government, which, jointly with the new well at Sheerness before-described, it now fully does.

 

The corporation have taken upon themselves to repair this well for several years past, at their own expence; notwithstanding which, it still continues the property of the crown, there having never yet been any grant made of it.

 

Anno 7 George III. an act passed for the better and more effectual maintenance and relief of the poor of the borough and parish of Queen borough.

 

Though Queenborough was made a borough by king Edward III. as before-mentioned, yet it had not the privilege of returning burgesses to parliament till the 13th year of queen Elizabeth's reign, in which year it made its first return of them.

 

QUEENBOROUGH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.

 

¶The church, which is dedicated to the Holy Trinity, is a handsome building, consisting of one isle and one chancel; it is decorated with a painted roof, and other ornaments, and very neatly kept. There is a high-raised seat in it, for the mayor and two bailiffs. The whole of it was raised, paved, and ceiled, and the gallery at the west end, erected by Thomas King, esq. the first time he was elected member of parliament in 1695. It has a square tower steeple at the west end, which seems much older than the church itself, and at the top of it there is a small wooden turret, in which hang five bells. It was once accounted as a chapel to the mother church of Minster, and belonged with it to the monastery of St. Sexburg in that parish, but it has long since been independent of it.

 

It is now esteemed as a donative, in the gift of the corporation of this place, and is of the yearly certified value of 20l. 2s. 6d.

 

www.british-history.ac.uk/survey-kent/vol6/pp233-245

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

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The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

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The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

Holy Trinity Church is in High Street, Skipton, North Yorkshire, England. Medieval in origin, the church is recorded in the National Heritage List for England as a designated Grade I listed building. It is the elder of the two active Anglican parish churches in the town, located in the deanery of Skipton, the archdeaconry of Craven, and the Diocese of Leeds. Its benefice is united with that of a church in a neighbouring village, St Augustine, Draughton.

 

he first church on the site was built in the early 12th century, probably in wood. The present church dates from about 1300, and was extended to the east in the late 15th century. The church was damaged during the Civil War, and was repaired and restored in the 1650s with financial assistance from Lady Anne Clifford of Skipton Castle, whose father's tomb is in the church. In 1853 the tower was struck by lightning. The church was restored in 1909 by the Lancaster architects Austin and Paley. During this process, the galleries were removed, a north transept and new vestries were added, and new seating was installed. The church was struck by lightning again in 1925, causing a fire that destroyed the organ and damaged the roof. The roof was repaired, and a new organ case was installed, again by Austin and Paley. In 1979 the Lady Chapel was created in the southeast corner of the church, and more recently a Prayer Corner was developed in a corresponding position at the northeast of the church.

 

The plan of the church consists of a nave with a clerestory, a south porch, a north transept containing the organ and vestries, a chancel with the Lady Chapel to the south and the Prayer Corner to the north, and a west tower embraced by the nave. The window tracery is mainly in Perpendicular style, with some in Decorated style. The font stands at the west end of the nave, and has a Jacobean cover. The rood screen dates from 1533. In the chancel is a triple sedilia. There are monuments in the church dating from the 16th and 17th centuries to the memory of members of the Clifford family. One of the windows contains stained glass by Kempe. The original pipe organ was built in 1803 by Lincoln of London. It was sited in a gallery on the northeast of the church, and had been moved by 1855 to the southeast corner of the church. In 1875 a new organ was built by Jardine, and it was moved in 1888 to a new organ chamber on the northeast of the church by Abbott and Smith of Leeds. Following the destruction of this organ in 1925, a new three-manual organ, built by Rushworth and Dreaper of Liverpool and designed by Edward Bairstow, was installed. This organ was rebuilt and reduced to two manuals in two phases in 1966 and 1970, and moved into the left bay of the north transept by Laycock and Bannister of Keighley. There is a ring of eight bells, all cast by John Taylor & Co. of Loughborough in 1921.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Skipton

As I have said previously, I used to travel from Lowestoft to Bungay every day for over 5 years; sometimes by car, but for the last three years by coach.

 

The coach used to pick up at various places, and once we had left Beccles we used to pick up at the bottom of the hill from the short stretch of dual carriageway and again at the main part of the village, where the church was.

 

I used to think, even back in the 80s, that Barsham was a fine location for a church: down a private lane where where the vicarage and church are. I thought this really was private, and so never did go for a look.

 

And so on my only full day in the area, Barsham was once church I really did want to visit, and so taking the now much quieter road out of Beccles and slowing down for the turn to the church.

 

In the 25 years since I last traveled the road to work, the trees have grown even larger, to the extent the church is all but invisible from the road now, well in summer for sure.

 

The church is still hidden as I approached, hidden behind a line of trees, but the round tower could be seen over the top of the lych gate.

 

Inside, there was bunting, a Nelson connection, and two of the wardens were doing the weekly cleaning, and were very chatty, but polite enough to let me get on with my snapping.

 

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e decided to spend the day visiting the churches of the Lothingland peninsula, but it had taken less time than I'd thought it would. Some of the churches that we'd expected to find locked were open, but none of the ones that were locked had keyholders. The ones on the Suffolk side of the border were open, as you'd expect, but we were also pleased to find the Norfolk churches of Fritton and Bradwell open to strangers and pilgrims. The grim parish church at dismal Hopton was padlocked up to the eyeballs, and the graffiti-stricken Belton church appeared to have been completely abandoned, a ruin in the making. It was with some relief that we decided to head back south into gentle Suffolk - the alternative, leaving the peninsula via Yarmouth, was too awful a prospect to contemplate.

Where to go next? I hadn't been to Barnby or North Cove for a number of years, and so I suggested that we take a look there. Both churches have no less than three keyholders each, but at each church not a single one of them answered the phone - perhaps they were all at a keyholders' conference or something.

 

Inevitably then, my thoughts turned to Barsham, a bit further down the road on the other side of Beccles. Barnby and North Cove straddle the A146, a rat-run between Bungay and the sea. It is not a road a cyclist should spend any amount of time on. But the Church of the Most Holy Trinity is gorgeous in its setting across a meadow from the road. Once in its pretty churchyard, the sound of the traffic is left behind. The splendid former rectory slumbers just beyond the fence. This was one of Suffolk's great Anglo-catholic shrines, and generations of visitors have made the same journey as we were making. And even before that extraordinary movement reared its head, this parish touched the world in a significant way, at least once.

 

The exterior of this building is the most beautiful of any small church in Suffolk. I dare say that the setting was even more idyllic before the elm trees which Arthur Mee saw here in the 1930s were lost to Dutch Elm disease. The most striking feature is at the east end. Here, like an extension of the window, an extraordinary flint lattice spreads across the face of the wall. It has been variously dated as anything between the early 12th century and the late 19th century; Clive Hart, in his excellent book East Anglian Flushwork, dates it as 16th Century. It is most unusual; there's nothing exactly like it anywhere else in Suffolk, although something rather similar has been picked out in brick on the east wall at Spexhall. Near the south porch sits a memorial to one of the famous names associated with Barsham. Adrian Bell was the finest author to write books about Suffolk in the 20th century, particularly Corduroy and Silver Ley. He was the father of the white-suited former Independent MP, Martin Bell.

 

Curiously,the tower and nave are not fully joined above head height. There is a window in the west wall of the nave, suggesting that the body of the church here is older than the tower against which it stands - or, more precisely, the west wall is. The Caen stone of the south doorway suggests a post-1066 date for that feature, at least. You step down into a charming, devotional space. The chapel to St Catherine on the north side creates an unusual dynamic, the chancel pressed as it is against the south wall. As elsewhere in Suffolk, much work was done here from the 1870s onwards. The restoring architect was Charles Kempe, best known these days for the glass he produced in vast volume.

 

Kempe had a number of assistants during his long career, two of whom would have a part to play in the story of this church. One was Frederick Eden, who would return here at the start of the new century and furnish this understated, devotional shrine. His loving and meticulous attention to detail is ultimately what, internally at least, makes Holy Trinity the church it is today. He was responsible for the rebuilding and furnishing of the chapel of St Catherine in 1908. He found a Norman font bowl under the chapel floorboards, which is now on display there. Also his are the communion rails, the sanctuary carpet, the aumbry, the war memorial and even the lychgate outside. Most important of all, however, is the glass, which is almost all his.

 

The other Kempe apprentice was the young Ninian Comper, that flamboyant Anglo-catholic, whose finest hour, in East Anglia at least, would come up the road at Lound. The church guide quotes a letter which the nineteen year old Comper wrote to his mother from Barsham rectory on Good Friday 1883: Dearest Mother mine, it is a lovely place - a sweet rectory in the midst of splendid trees & the little church almost touching the house. There is a curious East window all in diamond tracery down to the cill and most of the diamonds contain a Saint or Angel painted by my master so I feel at home. And there is a pretty Elizabethan screen, done up & supplied with a rood and iron gates by my master also. Mr Williams is what I call a regular thorough priest and not a rector or a clergyman and is much to my mind but Father knows him well, I believe, and so need not try to dwell upon his virtues!

 

The rood screen is very unusual - again, there's nothing quite like it anywhere else in Suffolk. It is probably Laudian, as at Kedington, having been put up in the 1630s to replace that torn down at the Reformation a century before.The rood, which is not the one Comper saw, and the arch of honour were put up in the 1890s, and painted in 1919. I can't help thinking that the archway has a DIY feel to it, but the little statues are rather sweet. Another unusual feature of the church is the restored low side window in the chancel. The shutter and its hinges were made by a local blacksmith, probably under the supervision of Kempe. The window above shows Jesus healing the ten lepers, a reference to the then-current misguided belief that low side windows had something to do with allowing lepers a view of the altar. This idea has now been entirely discredited, but still the window remains, a memory of the enthusiasm for the medieval in the last years of the 19th century.

 

A roughly surviving St Christopher wall painting is discernible on the north wall of the nave. These are relatively common in this part of East Anglia, and you probably wouldn't notice this one unless you looked for it. The length of the wall is now taken up with the famious England Expects That Every Man Will Do His Duty signal in flags. There's a good reason for this, as we will see. The George III coat of arms comes from nearby Shipmeadow, now a private house, as do the paschal candlestick and the Jacobean Holy Table in the rebuilt chapel of St Catherine. A simpler memory of the past is the memorial board to Harry Stebbings, gassed in the First World War, which was painted by Arthur Batchelor of Norwich at cost of materials only, according to the Rector of the time. More elaborate is the important terracotta table tomb, one of seven in East Anglia, built from parts manufactured in and shipped from Flanders in the 1520s. It was probably to Sir Edward Etchingham, and it served as an Easter sepulchre. There are also a number of floor brasses and ledger stones. The 'rectors and patrons' board was salvaged from a Catholic church in Norwich, presumably the Jesuit chapel in Willow Lane.

 

On the 8th of February 1906, lightning struck the east end of the church, destroying the stonework of the east window and smashing the medieval mensa which had been reinstalled on the high altar. The fund raised to repair this damage also paid for the building of the north aisle as the chapel of St Catherine. In 1979, a fire destroyed the nave roof, and scorch marks caused by fallen clumps of smouldering straw can still be seen on several benches.

 

There are a number of Suffolk churches where a dynasty of vicars has handed the living down through the generations. Most famous, perhaps, are the Wallers at Waldringfield, where present rector John Waller is fourth in an unbroken line stretching back to the 1850s.

 

But here at Barsham, the situation is illustrated in extremis. The Suckling family held the living here from the 17th century right up until the parish was merged into a benefice in the late 20th century. They were the local landed family, and in a position to present themselves to the living on each occasion. This was not unusual, up until the mid-19th century, but the Sucklings carried the tradition beyond that. This was partly by tenaciously bequeathing the property, presentation rights and living to distant cousins when the male line died out, on the condition that the recipient changed his name to Suckling before inheriting. Marriage to a Suckling daughter was another way of qualifying.

 

But the other thing that ensured this remarkable dynasty's survival was the way they embraced Anglo-catholicism so wholeheartedly, at a time when a career in the Church was increasingly seen as a poor alternative to the fortunes to be made out in the British Empire. They tapped into the energy of the movement in the East End of London, where they also presented livings.

 

They were particularly associated with the extreme High Church social action movement of the late 19th century, being good friends of Father McKonochie, one of a number of Anglican priests shamefully prosecuted by the Church of England and imprisoned for 'popish practices'. McKonchie retired, a broken man, to Barsham Rectory, before his life ended tragically some five years later. He is remembered by a memorial at the west end of the north aisle here. The Sucklings were also associated with the nearby Anglican convent of All Hallows, at Ditchingham in Norfolk, an institution that scandalised upright Victorian protestants. As at Claydon, the parish priest here suffered vile abuse for his connection with it.

 

For a few people, this church is a place of pilgrimage for reasons unconnected with its colourful liturgical history. In the 18th century, one of the Suckling daughters grew up to be mother of Admiral Horatio Nelson. In the days when a patriotic pride was taken in the waging of war and advance of imperial adventure, Nelson was considered a great British hero.

 

Simon Knott, June 2008

 

www.suffolkchurches.co.uk/barsham.html

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

Designed by Benjamin Ferrey

  

THE STORY OF HOLY TRINITY CHURCH

 

Holy Trinity logoA traveller entering Dorchester from the west faces a pleasant prospect. From the top of the long straight street which traverses the town the vista embraces a 15th Century church tower, a steeple standing close beside it, the Town Hall clock turret between them and in the far distance trees and green fields to complete the picture.

 

HISTORIC FOUNDATION:

(top)

The tower rises from the ancient church of St Peter, the spire from the church of All Saints. Nearby stands a third church bearing the title of the Holy Trinity, a Gothic revival edifice just over a hundred years old but with its origins reaching far back into history. It is probable that Christian worship has been offered on the site for nine centuries, for Dorchester was an important town in Anglo-Saxon England and traces its descent back to the days of Roman Britain. Its three ancient parishes of Holy Trinity, St Peter and All Saints are all of pre-medieval origin. Holy Trinity is named in the 11th Century Domesday Book which was compiled following the Norman conquest in the 11th Century. Carved upon wooden panelling at the west end of the church is a list of clergy who have served it since the year 1302.

 

There has been a succession of buildings on the site, the present one having been completed in 1876 to the design of Benjamin Ferrey, an eminent architect who also designed the present church of All Saints and the Town Hall. The churches and the Town Hall, together with the County Museum, form a distinctive and harmonious ensemble in the heart of Dorchester.

 

A NEW CHAPTER:

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A fresh chapter in the history of Holy Trinity opened in 1976 when it passed out of the hands of the church of England and became the Roman Catholic parish church of the town. Closed as redundant two years earlier, it was out of use when the local Catholics, who were in pressing need of more accommodation than they had in their own church of Our Lady Queen of Martyrs and St Michael, made an approach to the Anglican authorities. Begun locally, the inquiries were carried through to the diocese of Salisbury and the Church Commissioners. Eventually, after all the necessary procedures had been gone through, Her Majesty the Queen in Privy Council initialled the document authorising the transfer. The terms were framed by the Anglicans in most generous form and at every level they gave encouragement and co-operation. In May 1976 the new owners took possession. They retained the historic dedication of the Holy Trinity and added the title of Our Lady Queen of Martyrs as secondary patron in memory of their old church.

 

alter panel

 

A substantial stone edifice, Holy Trinity has a broad nave, flanked by aisles on the north and south, the latter terminating in a Lady Chapel. A lofty and beautiful reredos of carved and gilded woodwork is the dominant feature of the interior at the east end. Carved at Oberammergau, it was installed in the church in 1897. Its glowing colouring in blue, red and gold enriches the sanctuary in an impressive manner. Depicted in the centre panel is the Crucifixion, with buildings in the background representing the city of Jerusalem. On the left is a panel showing the appearance of Christ to Mary Magdalene in the garden - Our Lord holding the flag as the symbol of his triumph over death. In the right hand panel is the appearance of the risen Lord at Emmaus as he reveals his identity in the breaking of bread.

 

SAINTS OF ENGLAND:

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Figures of St Peter and St Paul stand on either side of the reredos, Peter bearing the keys of the Kingdom and Paul the sword of his martyrdom and the scroll of his Epistles. A line of saints runs below the panels for their full span. They include St Augustine of Canterbury wearing the pallium; St Aldhelm, first Bishop of Sherborne, carrying his pastoral staff; St Osmond of Salisbury displaying a volume of the Sarum liturgical use, Ritus Sancti Osmundi; St Edward, King of England; St Alban, the first Christian martyr of our country; and St George, England's patron saint.

 

Free standing in front of the reredos is an altar of onyx marble which used to be in the church of Our Lady Queen of Martyrs. An organ and a sacristy are located to the north of the chancel and immediately adjacent to the hall. Pulpit and font stand opposite each other on either side of the entrance to the sanctuary and beside the font is the Paschal candle which is solemnly blessed each year at the Easter vigil service to symbolise the risen Lord. Stations of the Cross brought from the old church line the walls. The lectern from which the Scriptures are read came from the Anglicans. There is some good stained glass by Kempe in the south aisle.

 

UNITED EFFORT:

(top)

The restoration of the building when it was acquired for Roman Catholic use was carried out by an impressive united effort. Many people came forward with loans and gifts to effect the purchase or laboured long hours at cleaning and redecorating the interior. Architect for the restoration scheme was Mr A. Jaggard of John Stark and Partners, Dorchester. The building alterations were carried out by Dorchester Building Guild.

 

On the evening of 28th May, 1976, a large congregation assembled in the restored church and Mass was celebrated by Father M. Joseph O'Brien, the parish priest whose vision and leadership had inspired the whole enterprise. On 8th October the Bishop of Plymouth, the Rt Rev. Cyril Restieaux, came to Dorchester to celebrate a votive Mass of the Holy Trinity in thanksgiving. This was a significant ecumenical occasion for a number of Church of England clergy attended the service together with clergy of other denominations. The Anglican Bishop of Ramsbury, who represented the Bishop of Salisbury, occupied a seat in the sanctuary and delivered a moving address on the theme of Christian unity. In the congregation were the Lord Lieutenant of Dorset, Sir Joseph Weld and Lady Weld, with the Mayor of Dorchester.

 

DORCHESTER MARTYRS:

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An unusual story attaches to the old church of Our Lady Queen of Martyrs. It stood originally at Wareham, 17 miles away, having been built there in 1890 for a small monastery of the Congregation of the Passion. The monastic foundation did not prosper and in 1906 the community left Dorset. Their church at Wareham was moved stone by stone to Dorchester. As it was dismantled its stones were numbered and then carried by horse and cart to be assembled again in the country town in High West Street under the title of Our Lady Queen of Martyrs and St Michael. The title commemorates three priests and four laymen who were martyred at Dorchester in the 16th - 17th Centuries. Each of the priests had in turn been chaplain to the Catholic family of Arundell at Chideock Castle in West Dorset. Living at the Castle, they had travelled the country, ministering to scattered groups of their co-religionists in secret because of the penal laws.

 

First to die, in 1587, was Father Thomas Pilchard, a native of Battle in Sussex, and he was followed by a layman, William Pike, who lived at Moordown in the east of the county. In July 1594 one priest and three laymen suffered the same fate after being arrested when a raid was made upon Chideock Castle. They were Father John Cornelius, Thomas Bosgrave (a nephew of Sir Thomas Arundell) and two servants, John Carey and Patrick Salmon. A native of Bodmin in Cornwall, John Cornelius had studied at Oxford and been ordained in Rome. Nearly half a century later Father Hugh Green died at Dorchester after being arrested at Lyme Regis. The death sentences were carried out at the gallows which then stood on the south-east side of the town. In the village of Chideock the Roman Catholic church next to the Manor is now the shrine of the Dorset martyrs. It was built in 1870-72 by Charles Weld, the Welds having acquired the Manor from the Arundells in 1802.

 

For almost 70 years the church, which had been brought stone by stone from Wareham, served the parish in Dorchester. On Ascension Day 1976 Mass was celebrated under its roof for the last time before the transfer to Holy Trinity took place. Later it passed into the ownership of an antiquarian bookseller.

 

LINK WITH AMERICA:

(top)

In the 17th Century Holy Trinity and St Peter's had an eminent rector in the person of the Rev. John White. An influential Puritan divine, he organised a party of Dorset emigrants who sailed to America in 1630 and took part in the founding of the State of Massachussetts. The town of Dorchester, Massachussetts, perpetuates their memory. John White's tomb is beneath the south porch of St Peter's church and an old house in nearby Colliton Street is identified as having been his residence. In the Middle Ages the Franciscan friars minor had a friary in Dorchester. It would seem to have been one of the earliest Franciscan foundations to be made in England.

 

SOURCE OF INSPIRATION:

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Holy Trinity is one of the most beautiful churches of the diocese of Plymouth to which it now belongs, a distinctive feature of the county town of Dorset and by reason of its venerable history a constant source of inspiration for those who worship there.

 

ACKNOWLEDGEMENTS:

(top)

The Story of Holy Trinity Church: Bridging The Centuries was written by James Pellow, published by Holy Trinity Parish, Dorchester, and printed by Wm. Pitfield & Co., 4 High East Street, Dorchester, Dorset.

  

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

As I have said previously, I used to travel from Lowestoft to Bungay every day for over 5 years; sometimes by car, but for the last three years by coach.

 

The coach used to pick up at various places, and once we had left Beccles we used to pick up at the bottom of the hill from the short stretch of dual carriageway and again at the main part of the village, where the church was.

 

I used to think, even back in the 80s, that Barsham was a fine location for a church: down a private lane where where the vicarage and church are. I thought this really was private, and so never did go for a look.

 

And so on my only full day in the area, Barsham was once church I really did want to visit, and so taking the now much quieter road out of Beccles and slowing down for the turn to the church.

 

In the 25 years since I last traveled the road to work, the trees have grown even larger, to the extent the church is all but invisible from the road now, well in summer for sure.

 

The church is still hidden as I approached, hidden behind a line of trees, but the round tower could be seen over the top of the lych gate.

 

Inside, there was bunting, a Nelson connection, and two of the wardens were doing the weekly cleaning, and were very chatty, but polite enough to let me get on with my snapping.

 

----------------------------------------------------------

 

e decided to spend the day visiting the churches of the Lothingland peninsula, but it had taken less time than I'd thought it would. Some of the churches that we'd expected to find locked were open, but none of the ones that were locked had keyholders. The ones on the Suffolk side of the border were open, as you'd expect, but we were also pleased to find the Norfolk churches of Fritton and Bradwell open to strangers and pilgrims. The grim parish church at dismal Hopton was padlocked up to the eyeballs, and the graffiti-stricken Belton church appeared to have been completely abandoned, a ruin in the making. It was with some relief that we decided to head back south into gentle Suffolk - the alternative, leaving the peninsula via Yarmouth, was too awful a prospect to contemplate.

Where to go next? I hadn't been to Barnby or North Cove for a number of years, and so I suggested that we take a look there. Both churches have no less than three keyholders each, but at each church not a single one of them answered the phone - perhaps they were all at a keyholders' conference or something.

 

Inevitably then, my thoughts turned to Barsham, a bit further down the road on the other side of Beccles. Barnby and North Cove straddle the A146, a rat-run between Bungay and the sea. It is not a road a cyclist should spend any amount of time on. But the Church of the Most Holy Trinity is gorgeous in its setting across a meadow from the road. Once in its pretty churchyard, the sound of the traffic is left behind. The splendid former rectory slumbers just beyond the fence. This was one of Suffolk's great Anglo-catholic shrines, and generations of visitors have made the same journey as we were making. And even before that extraordinary movement reared its head, this parish touched the world in a significant way, at least once.

 

The exterior of this building is the most beautiful of any small church in Suffolk. I dare say that the setting was even more idyllic before the elm trees which Arthur Mee saw here in the 1930s were lost to Dutch Elm disease. The most striking feature is at the east end. Here, like an extension of the window, an extraordinary flint lattice spreads across the face of the wall. It has been variously dated as anything between the early 12th century and the late 19th century; Clive Hart, in his excellent book East Anglian Flushwork, dates it as 16th Century. It is most unusual; there's nothing exactly like it anywhere else in Suffolk, although something rather similar has been picked out in brick on the east wall at Spexhall. Near the south porch sits a memorial to one of the famous names associated with Barsham. Adrian Bell was the finest author to write books about Suffolk in the 20th century, particularly Corduroy and Silver Ley. He was the father of the white-suited former Independent MP, Martin Bell.

 

Curiously,the tower and nave are not fully joined above head height. There is a window in the west wall of the nave, suggesting that the body of the church here is older than the tower against which it stands - or, more precisely, the west wall is. The Caen stone of the south doorway suggests a post-1066 date for that feature, at least. You step down into a charming, devotional space. The chapel to St Catherine on the north side creates an unusual dynamic, the chancel pressed as it is against the south wall. As elsewhere in Suffolk, much work was done here from the 1870s onwards. The restoring architect was Charles Kempe, best known these days for the glass he produced in vast volume.

 

Kempe had a number of assistants during his long career, two of whom would have a part to play in the story of this church. One was Frederick Eden, who would return here at the start of the new century and furnish this understated, devotional shrine. His loving and meticulous attention to detail is ultimately what, internally at least, makes Holy Trinity the church it is today. He was responsible for the rebuilding and furnishing of the chapel of St Catherine in 1908. He found a Norman font bowl under the chapel floorboards, which is now on display there. Also his are the communion rails, the sanctuary carpet, the aumbry, the war memorial and even the lychgate outside. Most important of all, however, is the glass, which is almost all his.

 

The other Kempe apprentice was the young Ninian Comper, that flamboyant Anglo-catholic, whose finest hour, in East Anglia at least, would come up the road at Lound. The church guide quotes a letter which the nineteen year old Comper wrote to his mother from Barsham rectory on Good Friday 1883: Dearest Mother mine, it is a lovely place - a sweet rectory in the midst of splendid trees & the little church almost touching the house. There is a curious East window all in diamond tracery down to the cill and most of the diamonds contain a Saint or Angel painted by my master so I feel at home. And there is a pretty Elizabethan screen, done up & supplied with a rood and iron gates by my master also. Mr Williams is what I call a regular thorough priest and not a rector or a clergyman and is much to my mind but Father knows him well, I believe, and so need not try to dwell upon his virtues!

 

The rood screen is very unusual - again, there's nothing quite like it anywhere else in Suffolk. It is probably Laudian, as at Kedington, having been put up in the 1630s to replace that torn down at the Reformation a century before.The rood, which is not the one Comper saw, and the arch of honour were put up in the 1890s, and painted in 1919. I can't help thinking that the archway has a DIY feel to it, but the little statues are rather sweet. Another unusual feature of the church is the restored low side window in the chancel. The shutter and its hinges were made by a local blacksmith, probably under the supervision of Kempe. The window above shows Jesus healing the ten lepers, a reference to the then-current misguided belief that low side windows had something to do with allowing lepers a view of the altar. This idea has now been entirely discredited, but still the window remains, a memory of the enthusiasm for the medieval in the last years of the 19th century.

 

A roughly surviving St Christopher wall painting is discernible on the north wall of the nave. These are relatively common in this part of East Anglia, and you probably wouldn't notice this one unless you looked for it. The length of the wall is now taken up with the famious England Expects That Every Man Will Do His Duty signal in flags. There's a good reason for this, as we will see. The George III coat of arms comes from nearby Shipmeadow, now a private house, as do the paschal candlestick and the Jacobean Holy Table in the rebuilt chapel of St Catherine. A simpler memory of the past is the memorial board to Harry Stebbings, gassed in the First World War, which was painted by Arthur Batchelor of Norwich at cost of materials only, according to the Rector of the time. More elaborate is the important terracotta table tomb, one of seven in East Anglia, built from parts manufactured in and shipped from Flanders in the 1520s. It was probably to Sir Edward Etchingham, and it served as an Easter sepulchre. There are also a number of floor brasses and ledger stones. The 'rectors and patrons' board was salvaged from a Catholic church in Norwich, presumably the Jesuit chapel in Willow Lane.

 

On the 8th of February 1906, lightning struck the east end of the church, destroying the stonework of the east window and smashing the medieval mensa which had been reinstalled on the high altar. The fund raised to repair this damage also paid for the building of the north aisle as the chapel of St Catherine. In 1979, a fire destroyed the nave roof, and scorch marks caused by fallen clumps of smouldering straw can still be seen on several benches.

 

There are a number of Suffolk churches where a dynasty of vicars has handed the living down through the generations. Most famous, perhaps, are the Wallers at Waldringfield, where present rector John Waller is fourth in an unbroken line stretching back to the 1850s.

 

But here at Barsham, the situation is illustrated in extremis. The Suckling family held the living here from the 17th century right up until the parish was merged into a benefice in the late 20th century. They were the local landed family, and in a position to present themselves to the living on each occasion. This was not unusual, up until the mid-19th century, but the Sucklings carried the tradition beyond that. This was partly by tenaciously bequeathing the property, presentation rights and living to distant cousins when the male line died out, on the condition that the recipient changed his name to Suckling before inheriting. Marriage to a Suckling daughter was another way of qualifying.

 

But the other thing that ensured this remarkable dynasty's survival was the way they embraced Anglo-catholicism so wholeheartedly, at a time when a career in the Church was increasingly seen as a poor alternative to the fortunes to be made out in the British Empire. They tapped into the energy of the movement in the East End of London, where they also presented livings.

 

They were particularly associated with the extreme High Church social action movement of the late 19th century, being good friends of Father McKonochie, one of a number of Anglican priests shamefully prosecuted by the Church of England and imprisoned for 'popish practices'. McKonchie retired, a broken man, to Barsham Rectory, before his life ended tragically some five years later. He is remembered by a memorial at the west end of the north aisle here. The Sucklings were also associated with the nearby Anglican convent of All Hallows, at Ditchingham in Norfolk, an institution that scandalised upright Victorian protestants. As at Claydon, the parish priest here suffered vile abuse for his connection with it.

 

For a few people, this church is a place of pilgrimage for reasons unconnected with its colourful liturgical history. In the 18th century, one of the Suckling daughters grew up to be mother of Admiral Horatio Nelson. In the days when a patriotic pride was taken in the waging of war and advance of imperial adventure, Nelson was considered a great British hero.

 

Simon Knott, June 2008

 

www.suffolkchurches.co.uk/barsham.html

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

Holy Trinity Church is a church in Market Street, central Cambridge, England, on the corner with Sidney Street. Its current vicar is Rupert Charkham. Theologically, it stands within the charismatic evangelical tradition of the Church of England.

 

The first Holy Trinity Church in Cambridge was next to the old Roman road and was just a small thatched timber building. This church burnt down in 1174. In 1189, a new stone church was begun. The stonework of the west wall under the tower is all that remains from the church of this time.

 

By around 1350, money was raised to widen the nave and add two aisles. In about 1348, a steeple was added to the tower. Around 1400, two transepts were constructed in the Perpendicular style. During the English Reformation (1550–1750), Holy Trinity Church developed further. In 1616, a gallery was erected along the north side of the nave for the increased size of the congregation.

 

From 1782 to 1836, Holy Trinity Church was at the centre of spiritual life in Cambridge. The ministry of Charles Simeon (1759–1836) started when he was appointed vicar by the Bishop of Ely against the wishes of the churchwardens and congregation at the time who disliked his evangelicalism. In 1794, Simeon introduced a barrel organ with sixty hymn tunes into the church. Apart from the repair to the lower section of the steeple in 1824 and painting and varnishing inside the church, Simeon made no structural alterations until 1834. Then the small chancel with 14th century ribbed vaulting was demolished and replaced with the current much larger extension, constructed of brick and plaster. These changes were made without an architect. Simeon was also one of the founders of the Church Missionary Society in 1799.

 

The church continued to flourish with its evangelistic reputation during Victorian times. In 1887, the chancel was finished in stone, the pews were replaced, choir stalls added and most of the galleries removed. In the same year, the Henry Martyn Memorial Hall was built next to the church as a centre for Christian undergraduates at the University of Cambridge. From 1873 to 1889, there were about 140 offers to the Church Missionary Society. In 1885, the Cambridge Seven went to China, inspiring other Christian missionaries.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Cambridge

Holy Trinity Church is in Accrington Road, Burnley, Lancashire, England. It is a redundant Anglican parish church, and is recorded in the National Heritage List for England as a designated Grade II listed building. Holy Trinity is a Commissioners' church designed by Lewis Vulliamy in Early English style. The church was extended in 1871–72, but closed in 1990, and has been converted into flats.

 

Holy Trinity was a Commissioners' church, the Church Building Commission awarding a grant of £1,168 towards the cost of its construction. Its total cost was £2,918. The church was designed by Lewis Vulliamy and was built in 1835–36. The chapelry district of Holy Trinity, Habergham Eaves was assigned in 1843. In 1871-72 the chancel was enlarged and a vestry was added, probably by William Waddington. The church was declared redundant on 1 January 1990. By the following year it was derelict, having been damaged in a fire, but it was restored and converted into flats in 1993. Its benefice has been united with that of St Matthew, Burnley.

 

The church is constructed in punch-dressed sandstone ashlar, and has slate roofs with inserted skylight windows. Its architectural style is Early English. The plan consists of a four-bay nave without aisles, a two-bay chancel with a north chapel and a south vestry, and a west tower. The tower is in three stages, with clasping buttresses, and contains paired west doorways, a clock face in a diamond-shaped surround, and pairs of louvred bell openings. At the top of the tower is an embattled parapet with octagonal corner pinnacles, and there are more pinnacles at the angles of the nave. The bays of the nave are separated by buttresses, and each bay contains a corbel-table and a pair of lancet windows. The sides of the chancel also contain paired lancet windows, and the east window consists of a triple stepped lancet in a blank arch. The north chapel is gabled, and contains a wheel window. The interior has been remodelled, but originally it contained a three-sided gallery on cast iron columns.

 

Holy Trinity Church was designated as a Grade II listed building on 29 September 1977. Grade II is the lowest of the three grades of listing and is applied to buildings that are "nationally important and of special interest". Hartwell and Pevsner in the Buildings of England series comment that the church has a "sturdy quality" and "an impressive sheerness".

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Burnley

This is the village hall connected with the Holy Trinity Church in Old Wolverton. This is where we had our wedding reception in 1981

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

Stained glass window in Holy Trinity church, St. Andrew's, Scotland. This is the last window Douglas Strachan made, only weeks before he died.

From the south-east on a sunny January afternoon.

As seen from here the church is largely a restoration carried out by James Fowler of Louth. The Chancel and the pyramidal spire together with the bell chamber were completely rebuilt. It is easy to dismiss the whole church as faux-Romanesque from this angle.

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

---------------------------------------------

 

The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

Designed by Benjamin Ferrey

  

THE STORY OF HOLY TRINITY CHURCH

 

Holy Trinity logoA traveller entering Dorchester from the west faces a pleasant prospect. From the top of the long straight street which traverses the town the vista embraces a 15th Century church tower, a steeple standing close beside it, the Town Hall clock turret between them and in the far distance trees and green fields to complete the picture.

 

HISTORIC FOUNDATION:

(top)

The tower rises from the ancient church of St Peter, the spire from the church of All Saints. Nearby stands a third church bearing the title of the Holy Trinity, a Gothic revival edifice just over a hundred years old but with its origins reaching far back into history. It is probable that Christian worship has been offered on the site for nine centuries, for Dorchester was an important town in Anglo-Saxon England and traces its descent back to the days of Roman Britain. Its three ancient parishes of Holy Trinity, St Peter and All Saints are all of pre-medieval origin. Holy Trinity is named in the 11th Century Domesday Book which was compiled following the Norman conquest in the 11th Century. Carved upon wooden panelling at the west end of the church is a list of clergy who have served it since the year 1302.

 

There has been a succession of buildings on the site, the present one having been completed in 1876 to the design of Benjamin Ferrey, an eminent architect who also designed the present church of All Saints and the Town Hall. The churches and the Town Hall, together with the County Museum, form a distinctive and harmonious ensemble in the heart of Dorchester.

 

A NEW CHAPTER:

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A fresh chapter in the history of Holy Trinity opened in 1976 when it passed out of the hands of the church of England and became the Roman Catholic parish church of the town. Closed as redundant two years earlier, it was out of use when the local Catholics, who were in pressing need of more accommodation than they had in their own church of Our Lady Queen of Martyrs and St Michael, made an approach to the Anglican authorities. Begun locally, the inquiries were carried through to the diocese of Salisbury and the Church Commissioners. Eventually, after all the necessary procedures had been gone through, Her Majesty the Queen in Privy Council initialled the document authorising the transfer. The terms were framed by the Anglicans in most generous form and at every level they gave encouragement and co-operation. In May 1976 the new owners took possession. They retained the historic dedication of the Holy Trinity and added the title of Our Lady Queen of Martyrs as secondary patron in memory of their old church.

 

alter panel

 

A substantial stone edifice, Holy Trinity has a broad nave, flanked by aisles on the north and south, the latter terminating in a Lady Chapel. A lofty and beautiful reredos of carved and gilded woodwork is the dominant feature of the interior at the east end. Carved at Oberammergau, it was installed in the church in 1897. Its glowing colouring in blue, red and gold enriches the sanctuary in an impressive manner. Depicted in the centre panel is the Crucifixion, with buildings in the background representing the city of Jerusalem. On the left is a panel showing the appearance of Christ to Mary Magdalene in the garden - Our Lord holding the flag as the symbol of his triumph over death. In the right hand panel is the appearance of the risen Lord at Emmaus as he reveals his identity in the breaking of bread.

 

SAINTS OF ENGLAND:

(top)

Figures of St Peter and St Paul stand on either side of the reredos, Peter bearing the keys of the Kingdom and Paul the sword of his martyrdom and the scroll of his Epistles. A line of saints runs below the panels for their full span. They include St Augustine of Canterbury wearing the pallium; St Aldhelm, first Bishop of Sherborne, carrying his pastoral staff; St Osmond of Salisbury displaying a volume of the Sarum liturgical use, Ritus Sancti Osmundi; St Edward, King of England; St Alban, the first Christian martyr of our country; and St George, England's patron saint.

 

Free standing in front of the reredos is an altar of onyx marble which used to be in the church of Our Lady Queen of Martyrs. An organ and a sacristy are located to the north of the chancel and immediately adjacent to the hall. Pulpit and font stand opposite each other on either side of the entrance to the sanctuary and beside the font is the Paschal candle which is solemnly blessed each year at the Easter vigil service to symbolise the risen Lord. Stations of the Cross brought from the old church line the walls. The lectern from which the Scriptures are read came from the Anglicans. There is some good stained glass by Kempe in the south aisle.

 

UNITED EFFORT:

(top)

The restoration of the building when it was acquired for Roman Catholic use was carried out by an impressive united effort. Many people came forward with loans and gifts to effect the purchase or laboured long hours at cleaning and redecorating the interior. Architect for the restoration scheme was Mr A. Jaggard of John Stark and Partners, Dorchester. The building alterations were carried out by Dorchester Building Guild.

 

On the evening of 28th May, 1976, a large congregation assembled in the restored church and Mass was celebrated by Father M. Joseph O'Brien, the parish priest whose vision and leadership had inspired the whole enterprise. On 8th October the Bishop of Plymouth, the Rt Rev. Cyril Restieaux, came to Dorchester to celebrate a votive Mass of the Holy Trinity in thanksgiving. This was a significant ecumenical occasion for a number of Church of England clergy attended the service together with clergy of other denominations. The Anglican Bishop of Ramsbury, who represented the Bishop of Salisbury, occupied a seat in the sanctuary and delivered a moving address on the theme of Christian unity. In the congregation were the Lord Lieutenant of Dorset, Sir Joseph Weld and Lady Weld, with the Mayor of Dorchester.

 

DORCHESTER MARTYRS:

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An unusual story attaches to the old church of Our Lady Queen of Martyrs. It stood originally at Wareham, 17 miles away, having been built there in 1890 for a small monastery of the Congregation of the Passion. The monastic foundation did not prosper and in 1906 the community left Dorset. Their church at Wareham was moved stone by stone to Dorchester. As it was dismantled its stones were numbered and then carried by horse and cart to be assembled again in the country town in High West Street under the title of Our Lady Queen of Martyrs and St Michael. The title commemorates three priests and four laymen who were martyred at Dorchester in the 16th - 17th Centuries. Each of the priests had in turn been chaplain to the Catholic family of Arundell at Chideock Castle in West Dorset. Living at the Castle, they had travelled the country, ministering to scattered groups of their co-religionists in secret because of the penal laws.

 

First to die, in 1587, was Father Thomas Pilchard, a native of Battle in Sussex, and he was followed by a layman, William Pike, who lived at Moordown in the east of the county. In July 1594 one priest and three laymen suffered the same fate after being arrested when a raid was made upon Chideock Castle. They were Father John Cornelius, Thomas Bosgrave (a nephew of Sir Thomas Arundell) and two servants, John Carey and Patrick Salmon. A native of Bodmin in Cornwall, John Cornelius had studied at Oxford and been ordained in Rome. Nearly half a century later Father Hugh Green died at Dorchester after being arrested at Lyme Regis. The death sentences were carried out at the gallows which then stood on the south-east side of the town. In the village of Chideock the Roman Catholic church next to the Manor is now the shrine of the Dorset martyrs. It was built in 1870-72 by Charles Weld, the Welds having acquired the Manor from the Arundells in 1802.

 

For almost 70 years the church, which had been brought stone by stone from Wareham, served the parish in Dorchester. On Ascension Day 1976 Mass was celebrated under its roof for the last time before the transfer to Holy Trinity took place. Later it passed into the ownership of an antiquarian bookseller.

 

LINK WITH AMERICA:

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In the 17th Century Holy Trinity and St Peter's had an eminent rector in the person of the Rev. John White. An influential Puritan divine, he organised a party of Dorset emigrants who sailed to America in 1630 and took part in the founding of the State of Massachussetts. The town of Dorchester, Massachussetts, perpetuates their memory. John White's tomb is beneath the south porch of St Peter's church and an old house in nearby Colliton Street is identified as having been his residence. In the Middle Ages the Franciscan friars minor had a friary in Dorchester. It would seem to have been one of the earliest Franciscan foundations to be made in England.

 

SOURCE OF INSPIRATION:

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Holy Trinity is one of the most beautiful churches of the diocese of Plymouth to which it now belongs, a distinctive feature of the county town of Dorset and by reason of its venerable history a constant source of inspiration for those who worship there.

 

ACKNOWLEDGEMENTS:

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The Story of Holy Trinity Church: Bridging The Centuries was written by James Pellow, published by Holy Trinity Parish, Dorchester, and printed by Wm. Pitfield & Co., 4 High East Street, Dorchester, Dorset.

  

I am indebted to John Fielding (www.flickr.com/photos/john_fielding/) for posting an aerial shot of Holy Trinity, and my interest was piqued by the timber-framed building with the triple gable at the east end. Turned out this was the Lady Chapel, and more of that later. So, on my way back home to Kent, I called in to see if it looked as remarkable in the flesh as in photographs.

 

I arrived at Long Melford, after being taken on a magical mystery tour in light drizzle from Wortham, down narrow and narrower lanes, under and over railway lines, through woods, up and down hills until, at last, I saw the town laid out beyond the church.

 

I parked at the bottom of Church Walk then walked up past the line of timber framed houses, the tudor hospital and the tudor manor house.

 

Holy Trinity sits on top of the hill, spread out, filling its large churchyard and the large tower not out of proportion.

 

Inside it really is a collection of wonders, from brasses, the best collection of Medieval glass in Suffolk, to side chapels, and behind, the very unusual Lady Chapel.

 

------------------------------------------

 

The Church of the Holy Trinity, Long Melford is a Grade I listed parish church of the Church of England in Long Melford, Suffolk, England. It is one of 310 medieval English churches dedicated to the Holy Trinity.

 

The church was constructed between 1467 and 1497 in the late Perpendicular Gothic style. It is a noted example of a Suffolk medieval wool church, founded and financed by wealthy wool merchants in the medieval period as impressive visual statements of their prosperity.

 

The church structure is highly regarded by many observers. Its cathedral-like proportions and distinctive style, along with its many original features that survived the religious upheavals of the 16th and 17th centuries, have attracted critical acclaim. Journalist and author Sir Simon Jenkins, Chairman of the National Trust, included the church in his 1999 book “England’s Thousand Best Churches”. He awarded it a maximum of 5 stars, one of only 18 to be so rated. The Holy Trinity Church features in many episodes of Michael Wood's, BBC television history series Great British Story, filmed during 2011.

 

A church is recorded as having been on the site since the reign of King Edward the Confessor (1042–1066). It was originally endowed by the Saxon Earl Alric, who bequeathed the patronage of the church, along with his manor at Melford Hall and about 261 acres of land, to the successive Abbots of the Benedictine Abbey of Bury St Edmund’s. There are no surviving descriptions of the original Saxon structure, although the roll of the clergy (see below) and the history of the site extend back to the 12th century.

 

The church was substantially rebuilt between 1467 and 1497. Of the earlier structures, only the former Lady Chapel (now the Clopton Chantry Chapel) and the nave arcades survive.

 

The principal benefactor who financed the reconstruction was wealthy local wool merchant John Clopton, who resided at neighbouring Kentwell Hall. John Clopton was a supporter of the Lancastrian cause during the Wars of the Roses and in 1462 was imprisoned in the Tower of London with John de Vere, 12th Earl of Oxford and a number of others, charged with corresponding treasonably with Margaret of Anjou. All of those imprisoned were eventually executed except John Clopton, who somehow made his peace with his accusers and lived to see the Lancastrians eventually triumphant at the Battle of Bosworth in 1485.

 

The dates of the reconstruction of the church are derived from contemporary wills, which provided endowments to finance the work

 

In 1710 the main tower was damaged by a lightning strike.[3] It was replaced with a brick-built structure in the 18th century and subsequently remodelled between 1898 and 1903 to its present-day appearance, designed by George Frederick Bodley in the Victorian Gothic Revival style. The new tower was closer to its original form with stone and flint facing and the addition of four new pinnacles.

 

The nave, at 152.6 feet (46.5 m), is believed to be the longest of any parish church in England. There are nine bays, of which the first five at the western end are believed to date from an earlier structure.

 

The interior is lit by 74 tracery windows, many of which retain original medieval glass. These include the image of Elizabeth de Mowbray, Duchess of Norfolk, said to have provided the inspiration for John Tenniel's illustration of the Queen of Hearts in Lewis Carroll's Alice's Adventures in Wonderland.

 

The sanctuary is dominated by the large reredos, of Caen stone and inspired by the works of Albrecht Dürer. It was installed in 1877, having been donated by the mother of the then Rector Charles Martyn.

 

On the north side is the alabaster and marble tomb of Sir William Cordell who was the first Patron of the Church after the dissolution of the Abbey of Bury St Edmund's in 1539. On either side of the tomb are niches containing figures that represent the four Cardinal virtues of Prudence, Justice, Temperance and Fortitude.

 

The sanctuary also holds one of the earliest extant alabaster bas relief panels, a nativity from the second half of the 14th century. The panel was hidden under the floor of chancel, probably early in the reign of Elizabeth I, and was rediscovered in the 18th century.[6] The panel, which may be part of an altar piece destroyed during the Reformation, includes a midwife arranging Mary's pillows and two cows looking from under her bed.

 

The Clopton Chapel is in the north east corner of the church. It commemorates various Clopton family members and was used by the family as a place of private worship.

 

The tomb of Sir William Clopton is set into an alcove here, in the north wall. An effigy of Sir William, wearing chain mail and plate armour, is set on top of the tomb. Sir William is known to have died in 1446 and it is therefore believed that this corner of the church predates the late 15th-century reconstruction. There are numerous brasses set in the floor commemorating other members of the Clopton family; two date from 1420, another shows two women wearing head attire in the butterfly style from around 1480, and a third depicts Francis Clopton who died in 1558.

 

There is an altar set against the east wall of the chapel and a double squint designed to provide priests with a view of the high altar when conducting Masses.

 

The Clopton Chantry Chapel is a small chapel at the far north east corner of the church, accessed from the Clopton Chapel. This was the original Lady Chapel and is the oldest part of the current structure. After John Clopton's death in 1497, his will made provision for the chapel to be extended and refurbished and for him to be buried alongside his wife there.[10] The chapel was then renamed, while the intended Chantry Chapel became the Lady Chapel.

 

The tomb of John Clopton and his wife is set in the wall leading into the chapel. Inside, the canopy vault displays faded portraits of the couple. Also displayed is a portrait of the risen Christ with a Latin text which, translated, reads Everyone who lives and believes in me shall never die. A series of empty niches in the south wall most likely once held statues of saints. Around the cornice, John Lydgate's poem "Testament" is presented in the form of a scroll along the roof, while his "Lamentation of our Lady Maria" is along the west wall.

 

The Lady Chapel is a separate building attached to the east end of the main church. In an unusual layout, it has a central sanctuary surrounded by a pillared ambulatory, reflecting its original intended use as a chantry chapel with John Clopton's tomb in its centre. Clopton was forced to abandon this plan when his wife died before the new building was completed and consecrated; so she was buried in the former Lady Chapel and John Clopton was subsequently interred next to her.[12]

 

The stone carving seen in the Lady Chapel bears similarities to work at King's College Chapel, Cambridge and at Burwell Church in Cambridgeshire. It is known that the master mason employed there was Reginald Ely, the King's Mason, and although there is no documentary proof, it is believed that Ely was also responsible for the work at Holy Trinity, Long Melford.[13]

 

The chapel was used as a school from 1670 until the early 18th century, and a multiplication table on the east wall serves as a reminder of this use. The steep gables of the roof also date from this period.

 

The Martyn Chapel is situated to the south of the chancel. It contains the tombs of several members of the Martyn family, who were prominent local wool merchants in the 15th and 16th centuries, and who also acted as benefactors of the church. These include the tomb chest of Lawrence Martyn (died 1460) and his two wives. On the floor are the tomb slabs of Roger Martyn (died 1615) and his two wives Ursula and Margaret; and of Richard Martyn (died 1624) and his three wives.

 

Originally, the Martyn chapel contained an altar flanked by two gilded tabernacles, one displaying an image of Christ and the other an image of Our Lady of Pity. These tabernacles reached to the ceiling of the chapel, but were removed or destroyed during the English Reformation in the reign of King Edward VI.

 

en.wikipedia.org/wiki/Holy_Trinity_Church,_Long_Melford

 

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The setting of Holy Trinity is superlative. At the highest point and square onto the vast village green, its southern elevation is punctuated by the 16th Century Trinity Hospital almshouses. Across the green is the prospect of Melford Hall's pepperpot turrets and chimneys behind a long Tudor wall. Another great house, Kentwell Hall, is to the north. Kentwell was home to the Clopton family, whose name you meet again and again inside the church. Norman Scarfe described it as in a way, a vast memorial chapel to the family.

 

Holy Trinity is the longest church in Suffolk, longer even than Mildenhall, but this is because of a feature unique in the county, a large lady chapel separate from the rest of the church beyond the east end of the chancel. The chapel itself is bigger than many East Anglian churches, although it appears externally rather domestic with its triple gable at the east end. There is a good collection of medieval glass in the otherwise clear windows, as well as a couple of modern pieces, and a very mdern altarpiece at the central altar. Jacqueline's mother remembered attending Sunday School in this chapel in the 1940s.

 

The intimacy of the Lady Chapel is in great contrast to the vast walls of glass which stretch away westwards, the huge perpendicular windows of the nave aisles and clerestories, which appear to make the castellated nave roof float in air. An inscription in the clerestory records the date at which the building was completed as 1496. Forty years later, it would all have been much more serious. Sixty years later, it would not have been built at all. A brick tower was added in the early 18th Century, and the present tower, by GF Bodley, was encased around it in 1903. As Sam Mortlock observes, this tower might seem out of place in Suffolk, but it nevertheless matches the scale and character of the building. It is hard to imagine the church without it.

 

I came here back in May with my friend David Striker, who, despite living thousands of miles away in Colorado, has nearly completed his ambition to visit every medieval church in Norfolk and Suffolk. This was his first visit to Long Melford, mine only the latest of many. We stepped down into the vast, serious space.. There was a fairly considerable 19th Century restoration here, as witnessed by the vast sprawl of Minton tiles on the floor, although perhaps the sanctuary furnishings are the building's great weakness. Perhaps it is the knowledge of this that fails to turn my head eastwards, but instead draws me across to the north aisle for the best collection of medieval glass in Suffolk. During the 19th century restoration it was collected into the east window and north and south aisles, but in the 1960s it was all recollected here. Even on a sunny day it is a perfect setting for exploring it.

 

The most striking figures are probably those of the medieval donors, who originally would have been set prayerfully at the base of windows of devotional subjects. Famously, the portrait of Elizabeth, Duchess of Norfolk is said to have provided the inspiration for John Tenneil's Duchess in his illustrations to Lewis Carroll's Alice in Wonderland, although I'm not sure there is any evidence for this. Indeed, several of the ladies here might have provided similar inspiration.

 

The best glass is the pieta, Mary holding the body of Christ the Man of Sorrows. Beneath it is perhaps the best-known, the Holy Trinity represented in a roundel as three hares with their ears interlocking. An angel holding a Holy Trinity shield in an upper light recalls the same thing at Salle. Other glass includes a fine resurrection scene and a sequence of 15th Century Saints. There is also a small amount of continental glass collected in later centuries, including a most curious oval lozenge of St Francis receiving the stigmata.

 

Walking eastwards down the north aisle until the glass runs out, you are rewarded by a remarkable survival, a 14th century alabaster panel of the Adoration of the Magi. It probably formed part of the altar piece here, and was rediscovered hidden under the floorboards in the 18th century. Fragments of similar reliefs survive elsewhere in East Anglia, but none in such perfect condition. Beyond it, you step through into the north chancel chapel where there are a number of Clopton brasses, impressive but not in terribly good condition, and then beyond that into the secretive Clopton chantry. This beautiful little chapel probably dates from the completion of the church in the last decade of the 15th century. Here, chantry priests would have celebrated Masses for the dead of the Clopton family. The chapel is intricately decorated with devotional symbols and vinework, as well as poems attributed to John Lidgate. The beautiful Tudor tracery of the window is filled with elegant clear glass except for another great survival, a lily crucifix. This representation occurs just once more in Suffolk, on the font at Great Glemham. The panel is probably a later addition here from elsewhere in the church, but it is still haunting to think of the Chantry priests kneeling towards the window as they asked for intercessions for the souls of the Clopton dead. It was intended that the prayers of the priests would sustain the Cloptons in perpetuity, but in fact it would last barely half a century before the Reformation outlawed such practices.

 

You step back into the chancel to be confronted by the imposing stone reredos. Its towering heaviness is out of sympathy with the lightness and simplicity of the Perpendicular windows, and it predates Bodley's restoration. The screen which separates the chancel from the south chapel is medeival, albeit restored, and I was struck by a fierce little dragon, although photographing it into the strong south window sunshine beyond proved impossible. The brasses in the south chapel are good, and in better condition. They are to members of the Martyn family.

 

The south chapel is also the last resting place of Long Melford's other great family, the Cordells. Sir William Cordell's tomb dominates the space. He died in 1581, and donated the Trinity Hospital outside. His name survives elsewhere in Long Melford: my wife's mother grew up on Cordell Road, part of a council estate cunningly hidden from the High Street by its buildings on the east side.

 

Simon Knott, January 2013

 

www.suffolkchurches.co.uk/Longmelford.htm

Holy Trinity

 

As there was no Established Church within easy access for the townspeople, it was the fervent wish of the Reverend Richard Milner that there should be one. He was the curate from 1836 to1840 and Vicar until 1870. There already were two small schools in the town, one C of E and one Baptist, each in private houses, but inadequate as the population had risen to 3000. There was a Sunday School at Ghyll, but Ghyll Lane was in very bad condition, and this furthered the Revd Milner’s purpose. Mr Royd of Rochdale generously gave the site in the centre of the town for a new school-cum-Sunday School. This was built in the style of a church and opened in 1838. After use as a school for a few years, Milner achieved his aim and in 1842 the Lord Bishop of Ripon consecrated the school as St James’ Church.

 

Meanwhile the Reverend Milner’s dream for St James’ Church was not to last. It was never consecrated for marriages, was in a cramped if central position, and there were problems with the structure. It was decided to build a new church on the site acquired a short distance away. St James was pulled down and a small supermarket erected on the site. The new church, Holy Trinity, was built and consecrated in 1960 by Dr Donald Coggan, Bishop of Bradford. Formerly the Church had a tower, but continuing problems with it meant that eventually a small spire replaced it.

 

Holy Trinity was a very imposing building when the tower was in situ. Viewed from the hills behind Barnoldswick its prominent position proclaimed that God was indeed present in this community.

 

barlickbracewellparishes.org.uk/holy-trinity-barnoldswick/

For a small village, Wentworth is quite unusual as it has two churches - the partly ruined ‘Old’ Church and the Victorian ‘New’ Church.

 

The new church was commissioned in 1872 by the 6th Earl Fitzwilliam at a cost of around £25,000 in memory of his parents. It was designed by John Pearson, who was the leading Victorian architect at that time. (In fact, some people will tell you that Pearson based Truro Cathedral on the design of the New Church!)

 

Like the Old Church, it is dedicated to the Holy Trinity and has been described by architectural historian Sir Nikolaus Pevsner as “a very fine, sensitive, and scholarly piece of Gothic revival”. It was built on an impressive scale and it's 200 foot spire is visible for miles around. The vast interior can comfortably seat over 500 people, which is far more than the population of the village at that time.

 

As well as this, there a number of interesting architectural features including the impressive stone vaulting and two large stained glass windows; the western by Kempe and the eastern by Clayton and Bell.

 

There is also a carved stone depicting the Last Supper which was donated by the 6th Earl's children to commemorate the Golden Wedding anniversary of the Earl and his wife, Lady Frances Harriet

 

As well as the Sunday services, the New Church is often used for art exhibitions and concerts - its excellent acoustics have also made it a popular venue for classical music recording sessions.

 

www.wentworthchurch.com/history/church

Nave column and window

The pews at Holy Trinity, Teigh face each other as in a college chapel.

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