St Mary’s Church at Redgrave is hosting the event, called ‘People Power’, on September 30 from 10.30am-4pm, which will be led by lecturer Tania Harrington.
June Shepherd, workshop organiser, said it would be the latest in a popular series of study days the church has run since 2007, covering everything from Richard III to First World War airmail.
She said: “From the start our team aimed at providing history lovers with something more meaty than an evening lecture, yet not as involving as a several-month course.
“An added interest is that the study days all take place inside a beautiful building which is itself historically important.”
Cost is £18, including a light lunch. To book, send SAE to Mrs J. Shepherd, Barn View, Chapel Lane, Botesdale IP22 1DT, with cheques made out to Redgrave Church Heritage Trust.
Tintagel in Cornwall is best known for its connections to King Arthur. However, the castle, although reputed in folklore to be Arthur’s birthplace, does not date from the Dark Ages but from medieval times, being first built by Earl Reginald, the illegitimate son of Henry I, then later remodelled by Richard, Earl of Cornwall, younger brother of Henry III. Earl Richard built most of what we see today, including the ‘Iron Gate’ which guards the cove, as well as the curtain walls, the buttresses augmenting the great hall, and the grand entranceway leading out into the nearby valley.
At one time a chapel to St Julitta stood within the castle walls; although Tintagel was described as ‘ruinous but still strong’ in the 1470’s, King Richard III appointed a chaplain, John Leicrofte to St Julitta’s in 1483. A few years later, not long after Richard’s defeat at Bosworth, Henry VII made one John Upcoate captain of the castle for his ‘services beyond the sea.’
Just above the ruins, standing alone and isolated from the village, is an ancient church dedicated to a very obscure Cornish Saint called Materiana. William of Worcester, journeying through Cornwall in 1478, wrote that she ‘performed a miracle on a man out of his mind, and on one woman and a certain girl upon the Feast of St James.’
In the 15th c, the patronage of Tintagel and St Materiana’s church was entailed to Alice Chaucer, and upon her third marriage to William de la Pole, Duke of Suffolk, the advowson was given to the couple for life.
Eventually this passed to their son John de la Pole (father of John, earl of Lincoln, Richard III’s designated heir after the death of his son). John’s wife was Elizabeth of York, sister to Edward IV and Richard III, and it was likely that Edward asked John and Elizabeth to relinquish rights of patronage. This was done by letters patent in June 1480.
At this particular time, Edward was busy remodelling the Chapel of St George at Windsor, and therefore the remote the Cornish church of St Materiana was assigned to the dean and canons of St George’s ‘to hold to them and their successors forever.’
Even today, whenever a new priest is needed for the parish, the appointment is made by St George’s chapel. The ties between Windsor and Tintagel, created by Edward IV, have never been broken in 500 years.
(Photos show the ruined castle with St Materiana’s church on the cliff, sections of the ruins, and a tile with the eagle of Richard of Cornwall.)
St Mary’s, Fairford, Gloucestershire. ‘A complete and perfect Perpendicular church’ and famous for it fine collection of medieval glass.
Described in Betjeman’s Best British Churches as ‘a complete and perfect Perpendicular’ church(1) this beautiful wool church was rebuilt by John Tame, a wool merchant from Gloucester , in the late 15th Century to replace a much older church. The tower had already been rebuilt by Richard Beauchamp, Earl of Warwick and Lord of the manor around 1430. St Mary’s possesses a complete set of medieval stained glass, amongst the finest in England and it is this glass that I want to focus on now. The glass was made between 1500 and 1517 and, other than the west window, which was severely damaged in a storm in 1703 and later restored, the glass has somehow miraculously survived, although how this has happened remains a mystery. It has been suggested it has survived because of the royal portraits contained in them. The windows are thought to have been a gift from Henry Vll himself. It should be remembered that when Henry had the young Edward Earl of Warwick executed in 1499 he seized his estates which included Fairford. It has also been suggested that Henry may have then given the manor to Prince Arthur whose badge of ostrich feathers and motto appear in some of the windows and one of the portraits is thought to have been modelled up his wife, Katherine of Aragon. Thirty years after Arthur’s death Henry Vlll presented Fairford manor to Katherine of Aragon after he had divested her of her title of queen. The portraits are mostly members of the Tudor royal family and influential people in the Tudor court although one of them is thought to be of a Plantagenet, that of Henry’s brother-in-law, the young Edward of Westminster, one of the ‘princes in the Tower’ Other portraits were modelled on Henry himself, obviously, his wife Elizabeth of York, Catherine of Aragon, Prince Arthur, Henry’s daughters Mary and Margaret and a young Henry Vlll and last but not least Margaret Beaufort (2) I also think its possible that one of them is based on Richard lll, but that is purely my own speculation.
Nave, north aisle, north Window. The figure of the Queen of Sheba is believed to be a likeness of Elizabeth of York
Chancel, north chapel, Lady Chapel, North window. Jesus as a small boy in the temple modelled on a young Henry Vlll possibly.
Holbein’s sketch of Henry Vlll as a child to compare
Nave,north aisle, west window. The figure of Solomon is thought to have been modelled on Edward of Westminster, one of the ‘princes in the Tower’ and brother to Elizabeth of York
Nave, north aisle, west window. Could this figure be Morton? It has been described as Wolsey but I disagree.
A wooden boss on the roof of Bere Regis church thought to represent Morton in comparison.
Chancel, south chapel, Corpus Christi Chapel, east window. This version of the Virgin Mary is believed to have been modelled on Mary Tudor, Henry Vll’s daughter. See picture below to compare likenesses.
A portrait of Mary Tudor to compare to her likeness in the above portrait of her at Fairford.
Nave, West Window. The figure with the crown is thought to be that of Henry Vll entering Heaven.
Chancel, north chapel, Lady Chapel, north window. The Magus is believed to have been modelled on Prince Arthur.
Chancel, north chapel, Lady Chapel, north window. Two royal likenesses here. It it thought that the Virgin Mary was modelled after Catherine of Aragon while that of the attendant with the doves is modelled on Margaret Tudor, Henry Vll’s daughter. Could the lady in red be modelled on Margaret Beaufort?
Two kings here..Henry Vl on the left and Henry Vll on the right.
Purely my speculation here but could the warrior holding the severed head be a Tudor representation of King Richard lll? For surely one shoulder has been depicted higher than the other one!
I am indepted to the excellent Corpus Vitrearum Medii Aevi online for these images
(1) Sir John Betjeman, updated by Richard Surman, Betjeman’s Best British Churches p.270
(2) Sir Nickolaus Pevsner, The Buildings of England, Gloucestershire 1. The Cotswolds, p367
Sometimes, in this very old country of ours, even a simple afternoon’s walk out along the river can come up with some rewarding historical data relating to the Middle Ages and the Wars of the Roses period. Recently I went for a walk near the Wiltshire Avon, from Figheldean to Netheravon, taking in two little-known rural medieval churches, which proved to be of some interest.
At the Church of St Michaels and All Angels, where the worn effigies of two unknown 13thc knights lie in the porch, having been brought there from a now-lost nearby church or chapel, the advowsen was held in 1485-1487 by Francis Stourton. Stourton was the son of John Stourton who attended Richard III’s Parliament when attainders were passed on the Duke of Buckingham’s rebels. Unfortunately for Baron Stourton, his brother–in-law, Sir William Berkeley, had actually joined the Duke’s Rebellion. Richard said he would pardon Berkeley as long as John Stourton came up with a bond of 1000 marks. He agreed to pay the bond–but unfortunately, ungrateful William Berkeley promptly shot off to Brittany to join Henry Tudor, leaving Baron Stourton with a hefty bill. In-laws, eh?
One of the local manors, Alton Magna, also happened to belong at one time to the Earl of Warwick, Richard Neville. It is not certain how he aquired it, as it had descended with the Honour of Leicester from Simon de Montfort, to Henry Duke of Lancaster, Henry’s daughter Maud, then her sister Blanche, the wife of John of Gaunt. When Blanche’s son became Henry IV in 1399 the honour of Leicester passed to the Crown.
Going along a pleasant leafy back road from Figheldean church, the traveller eventually comes to the village of Netheravon. Its church of All Saints has some similarities architectural qualities to that in Figheldean, including a very tall, stark tower. There was probably a Saxon church originally on site, and there is visible Norman work that survives, including a carving of beasts on the capital of an exterior pillar.
The church was a prebendal church and one of the prebendaries in the 15th c happened to be Thomas Rotherham,who was first Bishop of Rochester, then Bishop of Lincoln and finally Archbishop of York. He was Keeper of the Privy Seal for King Edward IV and was appointed Lord Chancellor. When Edward died, Rotherham unlawfully handed the Great Seal to Elizabeth Woodville, and hence lost his position as Chancellor. He was present at the council meeting where Lord Hastings was arrested and then executed, and was himself arrested as part of the conspiracy. He went to the Tower, but not for very long; he was soon released and continued to be a player on the scene.
As at Figheldean, the manor of Netheravon was held by the Duchy of Lancaster, first half of it, then eventually the whole. At one point one of the halves was held by the notorious Hugh Depenser the Elder and his family during the reign of Edward II. Upon their downfall, Queen Isabella was granted the estate for life. However, when her son, Edward III, captured her and Roger Mortimer at Nottingham in 1330, Edward gave the estate to Edward de Bohun. Later, through Mary, wife of Henry IV, it became part of the Duchy of Lancaster. Other local Despenser lands went to the Earl of Salisbury, which may be how Richard Neville came to own a manor in Figheldean.
Several local estates were also held by Sir William Beauchamp, husband to Elizabeth, suo jure Baronness St Amand; upon his death she held them jointly with her next husband, Sir Roger Tocotes. Sir Roger was a local landowner and sheriff who served George of Clarence for a while, but ended up as one of Buckingham’s rebels.
There is one other interesting feature of Netheravon. As you pass down the lane near the church, you will see the name ‘Beaufort’ clearly affixed to a gate. The large, rather sombre mansion in the next field was owned by the Dukes of Beaufort -although not in medieval times, but rather from the middle of the 18th century, when the surname (Beaufort) and title (Somerset) were reversed. Their stately pile, built by one Henry Somerset, stands close to a Roman villa and is likely on the site of the medieval manor house of the Cormayles family.
In the small quaint Hampshire village of Nether Wallop, filming location for the BBC’s MISS MARPLE, stands St Andrew’s church, a medieval establishment built on Saxon foundations. From the exterior it looks rather ordinary (save for the strange funerary pyramid in its grounds!) but inside is a glory of wall-paintings dating from the Saxon era to the 15th century.
The Saxon paintings are of the Winchester School, usually only seen in illuminations, and are exceeding rare, unique in the country as being the only wall paintings of this date in situ. Angels frolic over the chancel arch, the survivors of a grander mural which culminated at the centre with Christ in Majesty. (Jesus has now vanished, unfortunately, leaving just the angels on the sides of the arch.)
Along the rest of the church walls are further paintings from the early to mid-15th century, an eroded St Nicholas of Myrna and a wonderfully vivid depicture of St George slaying a dragon to rescue the Princess Cleodolinda. The dragon and George do battle below a tall tower, watched by a well preserved King and Queen, the King looking pleased at George’s prowess and the Queen slightly concerned!
Just down from them is a slightly patchy though very large figure which gives an insight into medieval religious thought in the 1400’s. It depicts the legends of the Sabbath Breakers and the woes you will bring upon Christ and yourself if you do not rest on the Sabbath as God decreed! Christ’s leg is showed being wounded by an axe and a knife; there are also depictions of other tools of the trade from the 15thc including scales and a quern, among others less discernable.
All or some of the 15thc wall paintings may have been comissioned by Mary or Maria Gore, an Abbess of Amesbury in Wiltshire. Her brass lies on the floor in the centre of the nave and is a rarity in itself–the only brass of an Abbess still existing in England.
In the very heart of historic Cambridge, stands a tall and elegant late Perpendicular Gothic church, sandwiched between the colleges and market square.
The church of St Mary the Virgin has stood on the site since 1205; the first recorded rector being Thomas de Chiveley who was appointed in the reign of King John.
The church was burnt to the ground in 1290. The local Jewish population were blamed for this unfortunate event and were punished by shutting down their synagogue. After the rebuilding of the church it was re-named Great St Mary’s, to differentiate it from Little St Mary’s in 1351.
King Edward III was a benefactor of the church at this time, along with his re-founding of King’s Hall in Cambridge which was later assimilated into Trinity College during the reign of King Henry VIII.
Arms of King Edward III and his sons over the gateway to Trinity College…
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28th March is the Feast of St Alkelda, a lady who has two churches named after her, one in Middleham, the other in Giggleswick. That seems clear enough. BUT there does not appear to be a St Alkelda. “She” may even be a well, there being a theory that the name Alkelda derives from an old word for holy well or spring.
To read much more on this interesting matter, go to the Darlington & Stockton Times’ article, from the 27th March 2015.
The last few times I’ve gone to visit the other half’s family in Somerset, we’ve driven through the town of Langport, a small place now but once an actual port and quite an important site in the Middle Ages. As we rounded the corner in the car, I kind of obliquely wondered why there was a great big portcullis painted on a wall, standing out with stark menace against the whitewash . Or why the local pub was also called ‘The Portcullis’ and had a sign depicting the same emblem.
And then the penny dropped…there might be an association with Margaret Beaufort, Henry Tudor’s mother.
I should have guessed already; on an earlier trip to nearby Taunton, I had noticed a stained glass window dedicated to her wily servant, Reginald Bray, in one of the churches and thought there had to be a local connection. As it happens, Margaret Beaufort, owned the manors of both Langport and Curry Rivel. Forget the modern portcullis emblems on wall and pub sign–original late 15th carvings of the Beaufort portcullis appear on the towers of both All Saints Church in Langport and St Andrews in Currey Rivel.
Curious, I decided to take a walk around All Saints, which stands at the top of town, on a very steep hill, near a remaining section of Langport’s ancient town walls. It is a fine church, although now disused, and is covered by carved stone ‘hunky punks’, a local type of Somerset grotesque (they aren’t actually gargoyles as they are not functional but are merely decorative.) The word ‘hunky punk’ is deemed to be from old English and means something similar to ‘hunkered down on haunches and squat legs.’
Going into the nave of the church, there was a Norman door remaining from an earlier church on the site…and on one wall, a rather flattering framed portrait of Margaret Beaufort ( not the usual one we are used to seeing, one in which she looks much younger). There is also some fine 15th c glass depicting several saints, possibly the finest medieval glass in Somerset.
But it was the hunky punks that intrigued me most, so it was back outside the building to look around the rear of the church…especially since I’d had a ‘tip off’ that two of the carvings were not the usual gurning goblins that danced sinisterly along the Somerset church rooflines.
Tucked out of the way, near a window, I spotted two hunky punks that didn’t quite match the mouth-pullers, wide-grinners, and tongue-pokers all over the rest of the church.
Do these two hunky punks look vaguely familiar to you?