St. Mary's Majestic Architecture
Walking down the central aisle there can be seen a distinct separation from the original church of circa 1120-25 and its later additions, as indicated by a step down to a lower level (albeit, alleviated by a ramp). This is where the bulk of the evidence is to be found for the purposes of dating the church to its Norman origins, dominated by the magnificent array of piers and arches, and one of the more unusual design features associated with St. Mary’s is the pairing of the four symmetrical and finely proportioned Norman Arches, extending from the West End extension down the Nave, incorporating alternate circular and octagonal-shafted pillars abreast of the Nave aisle.
The extended West End of the Nave was completed between 1150 and 1180, where immediately the style of architecture is changed, with rounded pillars accompanied by floriated capitals of the Early English Period, instead of the Norman scallops or fluted ornament.
During the 16th century, the West window was reduced to accommodate a lowering of the newly installed Hammerbeam roof, which, sadly, no longer retains the elaborate carvings within the support braces, or the flying angels (just three remain) at the ends of each of the beams. It is difficult to imagine the beautiful and colourful decorations that were part of the original design, in the same way that the only remains of the 15th century rood loft secured to the east wall of the Lady Chapel (North Transept), would have also been colourfully decorated as well as ornately carved (see thereon - Whaplode’s very own 'Green Man' ).
Herewith, a selection of photographs that provide perspective to appreciate the majesty of this ancient Norman church.
Our 11th Century 'Mensa Tablet'
There is without doubt one feature that excels all other of this magnificent church, the consecrated Altar stone table (‘Mensa Tablet’). The Mensa Tablet is inscribed with five consecration crosses, one at the centre and one at each corner. When the altar was consecrated these five crosses (symbolising the five wounds of Christ) would have been anointed with holy oil.
It is believed that the Mensa Tablet predates any of the St Mary’s original Norman buildings, which serves to add more credence to the existence of an earlier Saxon church being here in Whaplode. Its dimensions: are Length- 7 feet 2 inches: Width- 2 feet 10 inches: Depth- 6 inches, and it sits on a substantial oak altar framework encased by a separate oaken cover frame with a glass ‘window’ inset therein to allow viewing of the tablet.
During the Reformation commenced by Henry VIII, in the 16th century, and extending into the Puritan era, there was a zealous movement generated by the reformers to rid the churches, as well as the Abbeys, and Monasteries, of anything remotely identifying the buildings with Roman Catholicism.
In the midst of such desecration, it is not known precisely when the Vicar/townspeople of Whaplode decided to remove the complete Mensa Tablet, but fortunately, for St Mary’s, it was removed to a place of safety and remained hidden from sight for over two hundred years.
It was only discovered when the incumbent Vicar, Thomas Bateman, while out for a walk, circa 1780, happened to see what appeared, at first sight, to be large slab of limestone rock protruding from the base of a dyke, within a quarter of a mile of the church. Upon investigation he discovered the identifying consecration marks, which encouraged him to have it returned to St. Mary's, and subsequently the Altar stone was re-consecrated in the church.
Historical Relics & Artefacts
Amongst the many historical relics and artefacts to be found within the church are; a piece of a 10th century Saxon Burial Stone; two 13th century stone coffins (which were discovered, complete, in 1855 when part of the floor south of the transept crossing collapsed - the remains of the two priests inside the coffins were given proper Christian burials); the pewter chalice and paten ( removed from each coffin) can also be viewed inside the display cabinets near the west door; Notably, the most elaborate of the two coffins has a distinctive ' English Cross' design carved on the lid, authenticated as being a representation of the 'Tree of Life' by Dr Aleksandra McClain of Dept. of Church Archaeology at York University.
Within the West End of the Church, outside the 21st century Heraldic Suite, in display cabinets, can also be found two segments of floor tiles, discovered when the Heraldic Suite was built in 2006. It is thought these most likely formed part of the flooring within one of the many Chantry Chapels that were constructed inside the Church sometime in the 14th century (other remains from these Chantry Chapels can be seen on a display unit at the base of the Irby Tomb (also in the West End). The design of these floor tiles has been attributed to an Italian sculptor who not only worked with Michelangelo, but was also commissioned to create the decoration for the tombs of both Henry VII and Henry VIII; one Pietro Torrigiano (1472-1522). Furthermore, immediately beneath the window, alongside the Irby Tomb (see below), is the identification for the site of one of these Chantry Chapels, this is the Piscina, readily distinguishable from a Holy Water Stoop by the presence of a drain.
Of particular recognition among the artistic collection to be viewed is; the painting of 1773, George III, Royal Coat of Arms, hanging above on the Chancel wall; the 1907 "Christ in Glory" oil painting on canvas and zinc plate, currently residing in the Chancel, awaiting conservation work; and the original late 16th century Churchwarden's Chest to be found adjacent the grand 12th century West door.
Not forgetting - housed in the magnificent 78 feet high Bell Tower - the six heritage bells recorded with Historic England ( five hung in 1718; one in 1932), and the marvellous clock, also built in 1718.
The Canopied Ten Poster Tomb of
SIR ANTHONY IRBY
Sited at the west end of the South Aisle, is the wonderful canopied ten poster tomb of Sir Anthony Irby, (b. 9 January 1577: d. 1610), who was an M.P. and High Sheriff of the county of Lincoln in the reign of Charles I. Sir Anthony married Elizabeth Peyton in February 1602(3), daughter of Sir John Peyton, M.P. 1st Baronet Peyton of Isleham, co. Cambridge. Within this magnificent altar tomb can be seen the bed for the effigies of Sir Anthony, and his wife Lady Elizabeth, beneath which are held their remains. In addition, there are statues of their three sons and two daughters. This 'striking' tomb contains some wonderful 16th century symbolism, which is best viewed in situ rather being explained here.
Also, to be seen on the South Wall behind the Tomb is a picture of what appears to be an ‘English Civil War’ Parliamentarian's helmet, however, this fine, hinged visor, ceremonial helmet, is far from being a mere Parliamentarian helmet. The Irby Helmet (‘Sallet’), described as a popular form of head armour, is a fine and rare example of 15th century work of Flemish origin in the style of North Italian (probably Milanese) knight headgear. This valuable and exquisite helmet, is held within the ‘Strong Room’ at Spalding Gentlemen’s Society ("SGS") for safe-keeping, together with the remnant of the family banner which clearly displays the family insignia.
