Via Beata: Way of Blessing

St Mary’s Church sits in an isolated position in the Waveney water meadows on the Suffolk border, its battlements just visible over the trees. In the 18th or 19th century a staircase was added to the south side of the 14th century tower and the east end of the chancel was rebuilt. Inside, the remains of 13th century arcading are visible on the north wall of the nave. Look up at the carving on the Early English shaft which depicts a dragon and a bishop. Eight columns with alternating roses and shields adorn the font. There is a square squire’s pew on the north side. Other items of interest include the George I Royal Arms and a World War One Roll of Honour listing the workers of W. D. & A. E. Walker Ltd. The company ran the local mill and ferried goods in wherries along the River Waveney.

St Mary’s Church has a noble tower reaching up 100ft, with four stages and a repeating carved motif of the Sacred Heart encircled by thorns along the base course. Large figures in canopied niches each side of the west doorway have been very lucky to survive the iconoclasts. Enter through the 15th century doors in the south porch. Ahead is one of Norfolk’s grandest war memorials. A life-sized bronze effigy of a soldier lies in front of a black marble tablet which rises about 8ft high and bears the names of the dead. The font dates to the 15th century and features eight columns with alternating carved shields and roses around the bowl. In the 1870s an extensive project resulted in a new north aisle, arcade and chancel arch. Don’t miss the unique window in the south east corner of the nave. The names of the rectors from 1609 to 1802 are each surrounded by a laurel wreathed roundel under the inscription ‘may their Names be written in the Book of Life.’ Other panels depict Edmund Tudor, Earl of Richmond and his wife Lady Margaret Beaufort, the parents of Henry VII, and knights. There were no workshops in East Anglia capable of producing such high-quality stained glass and the window’s origin is unknown. There are two sets of brasses to the Bozard family dating to 1490 and 1505. Margery wears a butterfly-style headdress and Philip wears a fur-rimmed robe. A window in the north east corner of the nave is dedicated to the successful author Sir Henry Rider Haggard. The design incorporates vignettes of his home in South Africa, the Pyramids and Bungay. Mrs Frances Scudamore, wife of Revd William Scudamore, decorated the chancel roof in the 1860s. William played a fundamental role in the founding of the nearby Community of All Hallows. The gravestone of Mary Randalsome (d. 1840) in the churchyard confirms a Ditchingham legend that she was drowned by her husband.

St Margaret’s Church is full of character. It has a stump of a round tower, the result of a storm of 1770. The doorways to the north and south of the nave are both Norman. A Jacobean tester pew sits by the south door and is used as a makeshift vestry; it originally served as the squire’s pew in the chancel and has a ‘lid’ on it. Curious grooves have been scored into the font. Whether these were a result of tools being sharpened or perhaps for dust collection for use in remedies is unclear. The rood screen has a rustic charm with its intricate carving, gilded spandrels and painted floral motifs. A small brass dedicated to George Bacon lies on the chancel step, complete with the Bacons’ wild boar coat of arms. In the chancel are elaborate memorials to members of the Gleane family, including Sir Peter Gleane who we are told served Charles I in the Civil Wars and never recovered from the wounds he received both to his body and his fortune. There is a wall painting of St Christopher opposite the south doorway; look closely and you will see birds in the trees.

The church of St Michael and All Angels is small and quaint. The greater part of what can be seen now dates from the 12th and 15th centuries and two drastic restorations in the 19th century. The tower arch is Norman, as is a large proportion of the walling of the nave and chancel. The 15th century porch has a contemporary roof and fine flushwork panelling; there is an interesting green man on one of the spandrels of the arch and niche over the 15th century chancel arch, decorated with masks and floral motifs. The font is octagonal with the symbols of the Evangelists on alternate faces, and also dates to the 15th century. The tower, in brick and flint, is a rebuilding of 1887 as was the north nave arcade. There are two sets of Royal Arms, one Stuart and the other of George II. Fine Decalogue boards feature paintings of Moses and Aaron. In the churchyard there is an impressive table tomb constructed with medieval panels which most likely came from another church.

St Martin’s is a splendid Perpendicular church, with a wealth of decoration and detail to enjoy. The striking tower features intricate chequerwork, gargoyles and traceried sound holes. Flushwork also complements the buttresses and base course stretching all the way around the church. Griffins perch on the porch pinnacle corners. The clerestory windows are miniature versions of the nave windows. Inside, notice the carved heads of the apostles, King David and angels on the roof wall posts. The eye is drawn to the font, guarded on its 15th century stem by wild men and lions. The bowl is dated 1st February 1619 and includes the names of the churchwardens of the time. The lady chapel houses a 15th century piscina and an Elizabethan altar table. In the chancel, the tomb in the Easter Sepulchre may be dedicated to the church’s founder Sir Robert de Tateshale.

St Mary’s Church is a real gem, largely dating to the Decorated period of the early 14th century. It showcases an abundance of fine window tracery and a grand porch with trefoil-headed figure niches and floral motifs. The ribbed lead spire reaches up 125ft and has a charming sanctus bell cote (complete with an opening inside to give the ringer a view of the high altar). The east window is a Victorian addition but not out of keeping. Step into a bright space, enhanced by the clerestory windows. The substantial nave roof dates to 1622 and is supported by huge king posts. In the north aisle lies a 14th century wooden effigy of a knight in armour. Popularly believed to be Sir Hugh Bardolph, the church’s founder, despite Sir Hugh dying a century prior. On the south side of the chancel are rare Elizabethan Royal Arms in glass. Also worth stopping to admire is the magnificent window in the south aisle showing a glowing Christ and English countryside scenes of spring and autumn with lambs, birds and hares.

St Andrew’s Church has an unusual tower, the result of an early Perpendicular octagonal bell stage being added on to a Saxon/ Norman round tower and finished off with a substantial spire. The nave has a Norman door to the north with floral motifs on the capitals and a 14th century priest’s door to the south. Also of Norman origin is the tower arch. The porch dates to the 14th century but the inner door is of the 13th century. The beautiful window tracery of the nave is from the Decorated period. Inside, there are wooden George II Royal Arms and an early 17th century poorbox. Look closely at the north wall of the sanctuary and you will see three Saxon pillars built into it. The south aisle chapel serves as a memorial to the USAAF 96th Bombardment Group which was based at nearby Snetterton Heath. Of particular interest is the window depicting a Second World War American airman against a backdrop of clouds and B-17 Flying Fortresses, looking up at a radiant Christ. Roundels feature the insignia of the squadrons. The memorial to Albert Keppel, a nineteen year old killed in the First World War, features a beautiful mosaic of St George. His helmet hangs above. The churchyard contains early remains, including a prehistoric burial.

Commanding a prominent position next to the River Thet, St Peter & St Paul’s Church is truly one of the finest in Norfolk. The church is brimming with interest. Lovers of architecture, craftsmanship, monuments and medieval glass will find much to delight and fascinate them. The lower stages of the tower date to the 14th century. Gaze up at the 15th century battlements and you will notice symbols of the Harling family and figures between the pinnacles. A small spire rises from flying buttresses which, it is said, provided the inspiration for the spire of St Peter Mancroft in Norwich. The church was largely rebuilt in the early 15th century. Eighteen clerestory windows pierce the space above their larger nave counterparts. In 1840 the porch was rebuilt. Step through the 14th century doorway into a bright, lofty space encased by a grand hammer-beam roof. More symbols of the Harling family adorn the the south aisle spandrels in the form of bulls, unicorns and frails (rush baskets used by workmen). The south aisle chapel is enclosed by a 15th century screen to the west and an earlier parclose screen to the north. Marvel at the tomb of Sir Robert Harling and his wife. The brass states ‘His fame flourished well known amongst many of its natives of France – at length mangled by force of arms he died at Paris in 1435.’ The other tomb is that of Sir Thomas Lovell (d. 1604) and his wife. Try to work out what is being held up at the feet of Mrs Lovell – it’s a Saracen’s scalp. Anne Harling and her first husband lie under the lavish 15th century tomb in the north wall of the chancel. The effigies have been lost but the elaborate stonework has survived. Anne and her first two husbands were responsible for the rebuilding of the church, including the re-glazing. The east window is a vast kaleidoscope of medieval glass. It was brought back to the church in 1736 having been hidden away in the manor house before the Civil War and was once again removed temporarily during the Second World War. Biblical scenes abound. Anne’s first two husbands are depicted in the lower corners. Up in the top left is a red squirrel (squirrels feature on the coat of arms of the Lovell Family). Bring your binoculars!