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HISTORYof a crossroads on the A 1088 road from Woolpit to Thetford, about 3 1/2 miles south of Ixworth. However, its ancient parish church stands detached from the centre of the village amongst trees at the end of a lane off the road to Great Ashfield, with only the former Rectory for company. The Old Rectory has a grey brick facade in the Queen Anne style, but the core of the house dates back to Tudor times. There was a church here at the time of the Domesday Survey (1086) and some refurbishment of the interior of the tower base revealed what was thought to be evidence of Saxon long-and-short quoins. It is therefore almost certain that there was a Saxon church on this spot and that the present 14th century tower is built upon the foundations of part of this earlier building. The tower is, in fact, slightly out of line with the body of the church, being a little to the north of its centre. The chancel also dates from the 14th century, as can be seen from its northern windows, and the core of the nave is probably also of this date. During the 15th century the church was enlarged by the addition of the north and south aisles; new windows were placed in the south wall of the chancel and the south porch was added, thus completing the fabric of the building that we see today. WHAT TO SEE OUTSIDE THE CHURCHThe exterior of this ancient church contains much beauty and interest which should not be overlooked. Here especially it is worth standing back to enjoy the peaceful and idyllic situation of the building, also the fine avenue of small-leafed lime trees which forms the approach through its picturesque and spacious churchyard. Here we are in the heart of the country and seemingly a far cry from the busy world of motorways and industry. The unbuttressed western tower, which is built of flint nibble and has noticeably diminishing stages, dates from the early 14th century, although, as mentioned previously its foundations may well be Saxon. The west window and the north and south belfry windows have cusped 'Y' tracery of the early Decorated period of architecture (c.1300-1310); the other belfry windows have been given much later wooden mullions and tracery. The aisles are 15th century and their masonry incorporates both whole and knapped (split) flints. Their parapets (also the base course of the south aisle) have chequered flush- work panelling in stone and knapped flints, beneath which are carved gargoyle heads, which are designed to throw rainwater clear of the walls. (More gargoyles can be seen on the tower and porch). The north doorway has a 15 century moulded arch and east of it is a recess for a Holy Water stoup, where worshippers dipped their fingers into Holy Water and then made the sign of the Cross as an act of symbolic purification upon entenng and leavmg the sacred building. The aisles are lit by three-bght windows in perpendicular style. They have pleasing tracery and not only allow plenty of light to enter the church but also gave maximum scope for artists in stained glass. Very little of the nave can be seen from outside as there is no clerestory, but its curved 17th century north-west gable is a noteworthy survival, as is the single window high up in the east wall, which was uncovered in the late 19 century and may have originally contained a Sanctus bell. Notice also that the chancel roof-ridge was once higher. Two double 14th century windows (c.1310) survive in the north wall of the chancel, of which the easternmost retains its original corbel-heads flanking the arch. The large three- light east window is attractive and achitecturally interesting because its fine tracery incorporates both Decorated and Perpendicular designs, and may have been installed at the transition of the two styles in the mid-14th century. The south chancel wall has two fine 15th century windows. Also, above the Priest's simple doorway, a single window which, although shaped in the Early English (13th century) style, is probably later, judging by its moulding. In the buttressto the east of the priest's doorway are faint traces of a medieval Mass-dial, which indicated service times before the days of clocks. St Andrew's has retained its medieval sacristy on the north side of the chancel, which is an uncommon feature of East Anglian churches. The lofty 15th century south porch has more chequer flush- work and is lit by large double windows. Above the handsome outer entrance arch is a pretty cinquefoil-headed niche, containing a modem statue of St Andrew, in memory of the Rev. Horatio Nelson Grimley (Rector 1884-1918) who did much to have the church restored during his time here. In the churchyard, to the east of the porch, is a row of 18th century headstones of the Fiske family; another fine headstone of this date near the tower has a cherub and two skulls. In the 1980s, the churchyard was further extended to include former glebe land to the south-west of the old churchyard. In the year 2000 a number of trees were planted, including a cutting taken from an ancient yew alive during the time of Christ, in order to celebrate 2000 years of Christianity. WHAT TO SEE INSIDE THE CHURCH
opened and closed for worshippers and visitors for 500 years, admit us to the bright and beautifully cared for interior. The decor of the interior has undergone various changes over the years. Several treasures survive from the medieval period, when the church building itself was the ordinary people's Bible and manual of Religious Education, with its windows filled with coloured glass and its walls emblazoned with murals which, with the carvings and paintings on the roofs, screens, stalls, font and benches, represented a wealth of symbolism and teaching. Great changes took place after the Reformation, in order to conform to the new liturgical requirements. Much of the colour and carving disappeared and tall box-pews and a prominent pulpit emphasised the preaching of the Word. When the Suffolk antiquary, David Elisha Davy, visited St Andrew's in 1832, the nave was filled with deal box-pews, and a large pew for the Macro family of Little Haugh Hall stood on the north side of the chancel. The Communion Table was railed off at the east end, with the Lord's Prayer and Creed on the east wall above it. A painted board with The Ten Commandments hung on the north aisle wall, and, over the tower arch, hung the Royal Arms of George I. A musicians' gallery stood at the west end of the nave. Around 1832, the south wall of the chancel was rebuilt, copying exactly the original work, and, in 1881, the chancel was repaired and re-seated. Over the next quarter-century the church was gradually restored. The plaster ceiling was removed and the present nave roof of oak was erected, along with new roofs for the aisles and porch. The final alteration, made during the early years of the 20th century, was the removal of the box-pews and the insertion of oak benches in the nave. back to the top Two 19th century schemes which were not put into operation were the rebuilding of the vestry (designs by H F Bacon, of London & Bury St Edmunds), and the erection of a rood screen beneath the chancel arch (designs by R R Rowe of Cambridge). It is possible that one of these architects may have been responsible for the 19 century work which did take place. Fine 15th century three-bay arcades divide the aisles from the nave. Their octagonal piers have concave sides, embellished by trefoils in the stonework at the top, also moulded capitals and bases. The beautifully-moulded chancel arch, framed by a hood-mould resting on corbel heads, is supported upon similarly designed responds, but the tower arch. which is particularly handsome, has semi- circular responds, on which have been carved assorted graffiti, consisting mainly of 18th century autographs. The exposed stonework each side of the arch appears to be the eastern quoins of the tower. For many years there had been a choir vestry beneath the tower in which had hung pictures of three 19th century Rectors: the Reverends Alldersey Dicken (1831-79), Arthur Lloyd (1879-84) and Horatio Nelson Grimley (1884-1918). However, in 2002, mains water was laid on to the church and toilet facilities for disabled persons were installed in the former choir vestry. At the same time, an oak unit containing storage facilities, electrical sockets and a wash basin was installed beneath the west window in the north aisle, allowing refreshments to be served to the congregation after services. Beside the south doorway is an ancient 'dug-out' chest which was already of great age when somebody carved the date of 1604 upon it; it may well date back to the 13th century. The chest provided storage for church and parish valuables, and keys to its three locks were held by the Rector and the two Churchwardens, so that all three had to be present in order for it to be opened. The octagonal 15th century font, positioned at the west end near the main entrance, is placed here to symbolise our admission by Holy Baptism into the Christian Church. It is exceptionally well preserved and is one of the finest in the county of its period. The stem has Perpendicular traceried panels, and, at the corners can be seen, bearing shields a wodewose [a wild, hairy man] carrying a club (south-east) a lion (south-west), a primitive man with frightening facial features standing astride a spherical device (north-west) and a goat-like creature (north-east). Supporting the bowl are angels with wings outstretched, alternating with winged hearts (an emblem of the Blessed Virgin Mary) out of which grow little leaves. In the panels of the bowl (some of which have tiny flowers in their borders) can be seen- the angel of St Matthew (east); a pelican feeding her nestful of young with her own blood [an emblem of the Blessed Sacrament] (south-east); the ox of St Luke (south); a unicorn (south-west); a two-headed eagle (north-west); the lion of St Mark (north); and a griffin (north-east). The nave and aisle roofs were renewed in 1897, but are tastefully carved in the medieval fashion. The nave has a hammer-beam roof, with the emblems of the Twelve Apostles at the ends of the hammer beams. The lean-to roofs of the aisles are studded with carved bosses. The nave benches replaced the box-pews just after 1907, but the aisles are fitted with their original 15th century benches, with beautifully-carved poppyheads. Their armrests are carved with an array of figures and mythological creatures, many of which are damaged or decayed beyond recognition. Notice on the north aisle armrests (west-east): 1) A man wearing a cloak kneeling at (click here to see figures) prayer with a rosary in his hand and his hat on the prayer- desk [see: Fig. /]; 2) A cockerel; 3) A horse or unicorn; 4) A creature licking itself with a long tongue; 5) A creature with a long tail; 6) A creature with one long horn remaining and a long tail. The south aisle armrests also reward inspection but the creatures are more difficult to identify. The east end of both aisles formed chapels; the Chapel of back to the top St John the Evangelist to the north, and the Lady Chapel on the south side. It seems that the Lady Chapel, and the light which burned before the statue of the Virgin, provided a great feature of the church during medieval times. These chapels each had piscinas in their south walls for the disposal of water from the washing of the priest's hands at the Eucharist. The Lady Chapel piscina remains, but the north chapel has only slight traces in the wall to show where its piscina was once located. The small window in the wall at the east end of the north aisle gave light to the rood-loft staircase, of which the remains of the bottom steps can be seen in the north nave wall, behind the pulpit. Maybe the recess above the pulpit was also connected with this. The staircase led to the loft (gallery) above the carved and painted rood screen which stood beneath the chancel arch. Above the loft stood the great Rood depicting our Lord crucified and flanked by His Mother and St john. Some stonework in the moulding of the chancel arch has been cut away on each side, indicating where part of the rood complex fitted. The stone block, which juts out of the wall to the south of the chancel arch, has a hole through which a rope was placed to operate the white veil which hung before the Rood during Lent. The chancel is light and spacious and retains its medieval collar-braced roof. with thick cornices and modern fleur- de-lys at the bases of the wall-posts. The eastern bay of the roof has traces of colouring on it. The present choir stalls date from the 1881 restoration, but three sets of misericord stalls of 15th century date have survived and these are a great treasure of the church, with exquisite carving of the fold-back seats and on the armrests. These are superb examples of the medieval wood-carver's art and reward examination because here, not only do we have scenes from the story of the Church, but also real medieval people, some of whom are most amusing! Working from west to east, the carvings depict:- Chancel, North Armrests - 1) Man squatting, with chin in hands; 2) Man with his back to us, holding something; 3) Head; 4) Foliage design. Seats - 1) The Martyrdom of St Andrew; 2) The pelican, feeding her young with blood from her own breast, and the inscription 'In omni opera momenta finis" (In all thy works remember thy last end, [and thou shalt never sin]), from Ecclesiasticus 7 :40; 3) A woman, carding wool \Fig. 2\. Chancel, South Armrests - 1) Head; 2) Angel with shield; 3) Bird, with head between wings. Seats — 1) The Martyrdom of St Edmund, who in 869 was shot and killed with arrows by the invading Danes for refusing to renounce his Christian faith \Fig. 3}; 2) A cleric, studying [FIg. 4]. Sanctuary, South Armrests — 1) Wolf with head, either devouring a man or (according to legend) protecting the head of St Edmund; 2) A priceless representation of a youth about to have his backside soundly spanked by a woman using an implement fashioned in the shape of hand [FiG 5a and 5b]; 3) An animal (possibly a monkey); 4) Remains of a man squatting. Seats - 1) Two dogs; 2) An animal, entering a cave and another outside beneath a tree or canopy; 3) Two animals;4) A lion, having captured a wodewose. The altar is a 17th century Communion Table. Another table of some age stands in the vestry, and two chairs made from the timbers of the old aisle roof reside in the chancel. The vestry door is medieval and has some good ironwork. In the chancel windows are remains of the church's medieval glass. Some of this is very jumbled and the figures are difficult to identify. The glass was taken out of the windows during the 19th century and the figures were neither correctly nor entirely re-assembled. Mr King of Norwich re-leaded the easternmost window in the 1970s and re-sorted the figures as best he could from the incomplete glass. The north-east window has some 14th century canopy-work, and the south-east window has 15th century canopies at the tops of its three lights with various saints in the tracery. These include the top part of St Margaret, with her cross-handled sword; St Christopher, carrying the Christ child over the water; St Faith; St Etheldreda, with her crozier; and St Andrew with his cross saltire. In the topmost tracery are three Tudor roses. In the single window above the priest's doorway is a fine angel with a censer. This was originally inverted and we can see where it fitted in the tracery of the east window. More 15th century glass can be seen in the aisle windows, back to the top including canopy-work and four female saints in the south aisle east window (notice St Apollonia [the Patron Saint of dentistry] in the eastern tracery light, with a tooth held in a threatening pair of pincers!). Four coats-of-arms in the north-east window of the north aisle represent the Ashfields (right), one of whom built Stowlangtoft church, the de Bardwells (centre) who were Lords of the Manor here in the 15th century, and the Goldings (left). The only 19th century glass can be seen in the two figures in the east window tracery and the figure of St Andrew in the window above the chancel arch, both of which were given as memorials. Other memorials to people of the past who have been connected with this church and village can be seen on the walls and floor of the church. The earliest of these are the two brass inscriptions, now on the wall to the south of the chancel arch, commemorating John Rokwood, a former Rector of Norton (inducted 1535), and Edmund Loket. Some ancient burial slabs in the floor bear indents of their former brasses, including two which had effigies in brass. Several ledger slabs with relevant inscriptions dating from the 17th, 18th and 19th centuries can be seen, mostly in the chancel floor. The large wall monument at the west end of the nave commemorates Daniel Bales, who died in 1625 and left money for a Bread Charity, the bread being left on the monument on Sunday mornings. The main inscription is no longer visible, but the monument is crowned by three obelisks and an ogee-headed canopy, beneath which are faint remains of a painted skeleton with a scythe and hourglass (a symbol of mortality) together with the date 1626 and the legend "'As the glass runeth, soe the life wasteth". The best of the wall tablets are those which flank the east window, commemorating two former Rectors. More past incumbents and other Norton worthies are commemorated on plaques in the chancel and aisle walls. Many of the Rectors were Fellows of St Peter's (later Peterhouse) College, Cambridge — a Patron of the Living. Another memorial, this time to a 20th century Rector (the Rev. Alwyn Cobb) is the organ, which was installed by W Boggis of Diss in 1970. The organ was upgraded in 1999 with the addition of an electronic pedal department by Mr Don Delanoy, a resident of Norton who was organist and choirmaster at St Andrew's between 1986 and 2002. The current organ replaced an instrument which was made by Dixon in l882. In the tower hang two bells, in a medieval bell frame fitted for four. The two other bells are long gone; one cast by John Darbie in 1674 and the other a pre-Reformation bell, which, in 1899, stood cracked on the tower floor. The surviving bells are as follows:- Treble: Diameter 27V4 inches. Weight 472 cwt. Cast by John Draper ofThetford in 1628. Tenor: Diameter 35 inches. Weight 8 cwt. Also cast by John Draper (1635). Famous Rectors of Norton include Dr Nicholas Bownde DD (Rector here 1585-1613). Author of "The True Doctrine of the Sabbath" (1595), Bownde published a second revised and enlarged edition entitled "Sabbathum Veteris etNovi Testament!" (London, 1606). Most historians identify the beginning of the "Sabbath Controversies" in England with Bownde. He published half-a-dozen sermons between 1594 and 1608 including "Medicines for the Plague", preached at Norton in 1604. Suspended in 1583 for refusing to sign Archbishop Whitgift's Three Articles, he was subsequently restored, as evidenced by his signature in the Parish Register dated 1599. He was buried on 26 Dec. 1613 at St Andrew's, Norwich (he married the widow of John More, the Apostle of Norwich, who had been minister at St Andrew's, Norwich). Another noteworthy Rector of this parish was the Reverend John Ashbume MA (1646-61). A graduate of Emmanuel College, Cambridge, he married Abigail, daughter of Samuel Ward (1577-1640), the famous Puritan divine and Town Preacher of Ipswich. Inducted here on 30th Mar. 1646, Ashburne opened Norton Rectory as a private madhouse for paying guests during the English Civil War period, and he has been credited with being the founder of the Private Madhouse System. Having gained a considerable reputation for curing those who were afflicted by mental illness, Ashburne was brutally murdered at Norton on 1st August 1661 by one of his mad patients - the assailant being none other than his own brother-in-law, Samuel Ward, eldest son of the Ipswich Town Preacher. John Ashburne was buried in the churchyard the next day, and the Rectory sequestered for the use of his successor. Despite this tragedy, his wife, Abigail, and son, Samuel, continued to run a flourishing 'mad business' from another property in Norton for many years after John's death. First Edition: This Guide was originally compiled and produced in 1982 by Mr Roy Tricker, with the assistance of Mr David Wordley and Mr Peter Northeast. Second Edition: (June 1992) Norton Parochial Church Council. Third Edition: (July 1996) Norton Parochial Church Council. Fourth Edition: (May 2003) Expanded and illustrated by Dr Andrew Mason, with the assistance of Mrs Helen Taylor. Adapted for the internet (Nov.2004) by Mr. A Upson back to home page back to top of page |