Click images below to see full-sized.

           

In a Charter dated 1075, Waleran Fitzranulph or Fitzralph grants ". . . the church of St. Mary, which is mine in Buri" to Caen Abbey. If this "Buri" refers to our own village, as stated by the British Museum, and strengthened by the fact that the Fitzralphs owned land in the district, and have their coat of arms on the font, it is evidence that a church dedicated to St. Mary, existed in Bures in 1075, before Domesday. If the earliest church on the site were dedicated to St. Mary, for some unknown reason, and at some unknown date, the dedication was changed to that of All Saints. This may possibly have occurred when the original church was replaced by our present church in the late 13th and early 14th centuries, though it would have been unusual procedure. In the 15th and 16th centuries, a number of testators specified that they were to be buried in the churchyard of "All Saints" church of Bures. Some specified the churchyard of "All Saints of Bures St. Mary", indicating that, at that time, the suffix "St. Mary" bore no reference to the church, but only to the village. It is, however, conceivable that, if the first church referred to in 1075, had been dedicated to St. Mary, the village may have retained the appellation "St. Mary" from that date. It is not known when or why, the church later lost its dedication to All Saints, and assumed, or, possibly re-assumed its dedication to St. Mary. But dedications tended to fall into disuse around the reigns of Edward 6th (1547-1553), and Elizabeth (1558-1603), and to be revived again under the influence of the religious revival in the early 18th century. If the All Saints dedication were genuinely forgotten, after a period of about 200 years, it would be very natural to assume that, because the village was called Bures St. Mary, the church must have been dedicated to St. Mary, but whether the present church has ever actually been so dedicated is a matter for speculation.

The present building is largely of 14th century origin, with 15th and 16th century additions. The lower part of the tower appears to be of late 13th century origin, which would imply that this was built first, and that building then continued eastwards. The greater part of the tower, according to early historians, was built by Sir Richard Waldegrave before his death in 1410. All the lancet windows are original. On the south-west buttress of the original part of the tower, and facing south, can be distinguished the outline of a scratch dial. The hole in which the gnomon of this early form of timekeeper was set is clearly visible, and there are twelve scratches on the lower half of the dial only, indicating approximate hourly periods between sunrise and sunset, which would only be roughly accurate at the time of the equinoxes. There was a spire when the later part of the tower was built, but this was struck by lightning in 1733, and set on fire. It burned down to the tower, and the heat was so intense that the bell chamber and bell frames were burned, and five of the then existing six bells, were melted. On the north side of the tower is a recess, with a stone canopy, on which three dolphins are just distinguishable. This is assumed to be a tomb recess, but its identity is unknown and its purpose uncertain. In the early and mid-nineteenth century, it is recorded as a doorway into the tower, and has been walled up at some date after 1855.

The old roof line, which is still visible on the east face of the tower, is probably that of the original roof. It is of such a steep pitch, the, when this roof existed, it would have been impossible to have had the existing clerestories. The clerestories must, therefore, have been added at a later date, and, to accommodate them, a new roof of less steep pitch must have replaced the original. The date when this occurred is not known, but, in common with the addition of most clerestories in Suffolk, it probably took place in the 15th century. With the heightening of the nave, in many churches the tower has heightened at the same time, in order to maintain the proportion between the tower and the body of the church. It is, therefore, possible that the clerestories, and the new low-pitched roof, were built at about the same time as Sir Richard Waldegrave heightened the tower, that is, before 1410, otherwise there was little point in raising the height of the tower. But, it must be admitted that pre-1410 was an unusually early date for the addition of clerestories. The second, low-pitched roof was recorded in the 19th century as being leaded, but it is not possible to say whether the leading originated in the 15th century, though, no doubt, the roof line did. At some time in the middle of the 19th century, possibly during the 1862/64 restoration, this low-pitched roof was altered again to the present slightly steeper pitched slate roof, probably to improve the drainage of rainwater. At the time of the restoration, the clerestory windows were renewed, as was most of the glass in the aisle windows.

There is some fine knapped flint work at the east end of the Waldegrave Chapel, dating from the early 16th century.

The clock, with four faces, was installed in 1923 in memory of Mr. William Garrad of Brook House, and was presented, and endowed by the Garrad family.

The 14th century north porch, restored in 1873, is one of the finest in Suffolk, and must have been built as the principal entrance to the church at the same time as the nave and aisles. The main arch is fashioned out of two, solid oak, whole timbers, and there are original cusped bargeboards, and open tracery round the porch, both typical features of the period. There is a blocked up stoup in the wall.

The south porch is a very fine example of late 15th or early 16th century brickwork, with fine tracery in the side window. A south porch was known to exist in 1517, which was probably the present one. At one time the porch was surmounted by a statuette, the recess for which is clearly visible, but this was removed at some unknown date. There is an unusual stoup, with a carved corbel bowl. This is on the right of the door, in common with most stoups, since the right hand was used for crossing oneself with holy water. The 14th century doorway is surmounted by large hood mould stops, one carved with a knight in camail. The 15th century oak doors still show good tracery, and fragments of a beautiful carved trail border, with a design of birds. The brickwork of this porch was cleaned during the 1862/64 restoration.

The corbels which supported the upright timbers of the original nave roof, are visible below the present flat, and ugly, ceiling, which was probably constructed during the 1862/64 restoration. Most of the corbels are original, and there are some fine examples of carving, representing angels holding a shield, or an open book, or playing a trumpet or lute. From the constructional details of the pillars, it appears that both aisles were built at the same time as the nave, which is unusual. This is borne out by the fact that the north porch, leading into the north aisle is of 14th century construction, and the doorway leading into the south aisle, also appears to be 14th century. The pillars and arcades are 14th century, and it can be seen that two of the south pillars have been repaired. This was done in 1862/64, as these pillars had sunk, and had to be rebuilt.

The base of the tower, now used as the choir vestry, is the oldest part of the church dating from the late 13th or early 14th century. The springing of the originally intended stone vaulting is visible, with some fine examples of carving at the base of the springers. Of interest are the names carved over the centuries in the soft stone of the pillars supporting the arch between the tower and the nave, the earliest of which is dated 1531.

It is not known for how long there have been bells in the church. Possibly the earliest reference to "bells" is in a bequest dated 1442. By this date, the upper part of the tower, containing a bell chamber, must have been completed. In 1733, when the tower was struck by lightning, and the bells melted in the subsequent fire, there were, according to the Registers, six bells, the third, fourth, fifth, sixth, seventh, and tenor. One only survived the fire, the sixth, dated 1658, which survives to this day. The fourth, fifth and seventh were recast in 1734, after the fire, and the third and tenor were recast in 1826. The third, fourth and fifth were recast again in 1921, as a memorial to Alan Petit, a chorister for fifty years. The treble bell was presented by Dr. Thomas Wood, to mark the "Festival of Britain" in 1951, and the second was installed in his memory, by public subscription the same year. These completed the full peal of eight bells, among the finest in Suffolk.

According to early historians, the vestry, at the east end of the north aisle was built as a vestry by Sir Richard Waldegrave, who died in 1410. But the present vestry roof is of the low-pitched tie beam, cambered type, which was a building improvement, which rarely reached Suffolk before about the end of the 15th century. The door and doorway from the chancel into the vestry; and the wrought iron grille, also appear to be 16th century. It might be assumed, therefore, that the vestry was rebuilt, or repaired, some time in the 16th century, possibly in connection with Sir Richard Waldegrave's tomb (See "The Sanctuary" below). The door from the chancel has an unusual type of wrought iron latch, and is surmounted by a hood mould, carved with the heads of angels, and there is some fine carving around the stone door frame.

The fine octagonal font has a bowl with demi-figures of angels, holding coats of arms, and stands on a stem with tracery panels, buttressed with the four signs of the Evangelists, now much defaced. It is typical of traditional East Anglian fonts of the 15th century. It appears that the bowl has been restored, or replace, but not the stem.; there is evidence that a "font" was presented in 1545 by, either Sir William Waldegrave (died 1559), or the Lady Juliana, his wife (died 1564), and it is thought that this presentation may refer, either to the restoration of the 15th century bowl only, or to the presentation of a new bowl, perhaps incorporating the coats of arms, for the first time.

On the east face of the font are the Tudor arms of England, and, in a clockwise direction, the arms of De Vere, Fitzralph, Mortimer, De Cornard, Waldegrave, De Bures, and Mortimer of Clare. The position of the font is somewhat unusual, since it was normally the custom to place the font near the principal entrance to the church, which is the north door.

The Star Chamber was a committee of the Royal Council, established by Henry 7th (1485-1509), where prisoners, civil or criminal, were tried and sentenced without benefit of jury. It was not abolished until 1641, in the reign of Charles 1st. In the first year of the reign of Queen Elizabeth 1st (1558), three inhabitants of Bures were arraigned before the Star Chamber, charged with riot, that is to say, damaging and stealing from, the tombs of Sir Richard and Sir William Waldegrave, and from the rood loft and screens. Extracts of the charge, taken from the Star Chamber Proceedings, give most detailed evidence of the positions and construction of both tombs, and of rood loft and screens. Any reference in this Guide to the Star Chamber Proceedings, or to the S. C. P., refers to the extracts mentioned above.

The chancel dates from the 14th century. Above the Vicar's stall, on the south side, and now forming part of the pillar supporting the chancel arch, is a stone projection, which is actually a fluted piscina, with a drain hole emptying into the pillar. This must have been a piscina for an altar in the rood loft, which was a rare feature. Rood loft, and screens were removed and burned in the reign of Elizabeth 1st, on 29th September 1559.

Where the organ now stands, there was originally a 14th century chapel, dedicated to Our Lady of Pity, built by Sir Richard Waldegrave prior to his death in 1410. There is still a piscina in the east wall of the chapel, behind the organ, and a stone bench can be seen by looking through the north window of the chapel from outside the church. The very beautiful stone arch of this chapel is, unfortunately, obscured by the present organ casing, which was given in memory of the Revd. Arthur Hanbury in 1908. A water colour by Seymour Lucas, R. A., which hangs in the Waldegrave Chapel, shows this arch.

The stone tomb between the sanctuary and the vestry, with stone brackets to carry the now missing wooden canopy, is something of a mystery. It stands in the exact position specified by Sir Richard Waldegrave in his Will, and the S. C. P. describe it as in this position in 1558. There seems little doubt that the effigies on the tomb slab, with the brasses removed, represent Sir Richard Waldegrave, died 1nd May 1410, and Joan, his wife, who died 10th June 1406. She was lady Joan De Bures, the widow of Sir Robert De Bures, who had died in 1361. The indents on this slab are still clear, and show that the male effigy was clad in camail and jupon armour, which was superseded by full plate armour not later than about 1410. The effigy is also helmeted, which was an unusual feature after about 1500. However, the tomb chest itself appears to be 16th century, and not early 15th, and does not conform entirely with the description of Sir Richard's tomb in the S. C. P. the reason that slab and chest are, apparently, of different periods, can only be a matter for conjecture. It is evident from the S. C. P. that the tomb chest and its canopy were extensively damaged in 1558, and it is possible that the Waldegrave family repaired the chest at that time. It also seems that, at sometime in the 16th century, the vestry and its door may have been reconstructed, and the arch and wrought iron grille to the north of the tomb made. Possibly the repairs the tomb chest, the reconstruction of the vestry and its door, and the construction of the arch and grille, all took place at the same time in the 16th century, maybe immediately after the damage done in 1558. But, it is admitted that there was no evidence to confirm this.

The large corbels which supported the highly ornate and gilded wooden canopy, which was about 4 ft. high, are finely carved, though they have been defaced at some unknown date. The Motif of an angel holding an open book is the same as that of a 14th century corbel in the north aisle. On the underside of the corbel by the vestry door is a grotesque carving of a large dog, resembling a bull mastiff, secured by a collar and massive chain.

The S. C. P. indicate that, during the reign of Henry 8th (1509-1547), sir Richard's tomb slab and canopy were used to form the Easter Sepulchre. It is stated that when the tomb was used as a sepulchre, there were figures of angels, holding candles, at each end of the tomb, which is a possible explanation of the recesses which still exist. The annual practice of building the sepulchre apparently ceased from 1548, as a result of an Order in Council of Edward 6th.

In a vault below the Sanctuary lie the remains of Mary Constable, aunt of John Constable, the famous artist, and a simple stone tablet on the wall records her death in 1792. Next to this are two other tablets, commemorating the deaths of members of the Sidey family, of Bures Hamlet, between 1812 and 1853, and there are three 18th century floor tombs of this family, just inside the south door of the Waldegrave Chapel the stained glass east window, and the ornate reredos behind the altar are mid-Victorian probably dating from the 1862/64 restoration. Earlier, in the east window were two coats of arms, one quartered and including Ferriers, the other De Bures.

This stands at the east end of the south aisle, and was founded in 1514 by Sir William Waldegrave, who died, reputedly at the age of 103, in 1527 (old style) or 1528 (new style). By Elizabethan times it had become, according to the S. C. P. "A certain little Ile or Chappell there builded and set up p'posely as for an Oratory. Wherein the gentlemen and gentilwomen of worship of that p'ish might pryvatly sitte to use their prayers and meditacions …" Later it fell into disuse for this purpose, and in 1889, in a Faculty to remove a gallery installed in 1862/64, it is described as "… what was then the Waldegrave Chantry, but which is now the east end of the south side of the chancel" indicating that it no longer held the status of a Chapel. In 1927, as recorded by the modern stained glass window, it was restored to its former use as a chapel by the Probert family, under a Faculty "To restore to its sacred use the Waldegrave Chapel", which permitted the re-installment of an altar with its customary ornaments, a prayer desk, etc.

Sir William Waldegrave, who founded it, specified that he was to be buried "…under the arch between the High Altar and the Chapel of Jesus", and the S. C. P. refer clearly to the tomb of Sir William as "…erected and standying the south side of the Chauncell …" in 1558. All traces of this tomb have disappeared, and its fate is unknown. From the above extract from Sir William's Will, it is apparent that the Waldegrave Chantry and the Chapel of Jesus must have been one and the same. This is further borne out by the Will of Sir George Waldegrave, son of Sir William, who died in 1528, the same year as his father, in which he direct that he should be buried "… in the aisle of Jesu there, near to the tomb of my father …". There is a tomb chest against the south wall, with a slab, stripped of its brasses, inclined on top of it, which is believed to be that of Sir George Waldegrave. There is a fine detached monument to a later William Waldegrave (died 1613), his wife Elizabeth, and their ten children. All the arms of the figures have been knocked off, presumably by Dowsing in 1643. A stone bench, with carved frontal, stands against the west wall of the chapel, and appears to be of an earlier date than the chapel, and may have been moved from elsewhere in the church. There is a fine band of carving on the oak beam supporting the roof of the chapel, where it meets the wall of the chancel. This depicts a series of mediaeval figures, with doleful faces, studying an unbroken length of curling parchment. At the bases of the upright timbers supporting the roof, in the north-east and north-west corners of the chapel, are finely carved figures. In the east wall is an aumbry.

On a pedestal in the north aisle is the very rare wooden effigy of a knight in mail coif, with hauberk, with gambeson beneath, surcoat, mail hose and knee cops, with shield intact, sword belt and part of sword, legs crossed and feet spurred, with lion at his feet, and angels supporting the cushion beneath his head. The effigy is carved in sweet chestnut, and dates from about 1330. It is one of only two of that period in Suffolk. Its identity cannot be proven, as there are no identification marks, but it is almost certain that it represents Sir Richard De Cornard. This belief was current as long ago as the 16th century, when the effigy was in the same position under the window. It is believed that the body is buried beneath the north wall. At some period the effigy has been given a coat of paint, presumably with the idea of preserving it, which accounts for the polished appearance of the wood.

Just inside the door in the south aisle, are two floor tombs in which are interred the remains of members of the Pelham family, between 1746 and 1780. This family, who lived at Ferriers, was descended from the Waldegraves, and some members were among the earliest emigrants to the United States in the early 17th century. The town of Pelham in Massachusetts is named after them.

The parish registers are complete, and date from 1538. All registers, except those of the 20th century, are now deposited for safe custody with the Suffolk Records Office, in Bury St. Edmunds, and can be consulted there.

A list of the Incumbents and Patrons of the church from the year 1150 to the present day, is hung on the wall just inside the north door. The living has been in the gift of the Board of Patronage of the diocese of St. Edmundsbury and Ipswich since 1949.

Will Dowsing, who did so much damage to East Anglian churches under the Commonwealth, records the following: -- "BUERS, Feb. the 23rd. We brake down above 600 superstitious Pictures, 8 Holy ghosts, 3 of God the Father and 3 of the Son. We took up 5 inscriptions of quorum animabis propitietur Deus; one pray for the soul. And Supersticiouns in the Windows, and some divers of the Apostles." This was written in the year 1643. Dowsing's fee for this work was one noble (about 33p), which was charged to the parish.

What is, perhaps, surprising, is that, after the widespread destruction of church property, which had previously taken place during the reigns of Henry 8th, Edward 6th, and Elizabeth 1st, there was so much left for Dowsing to destroy. Evidently, Bures had not complied very strictly with previous Royal Edicts.

About 1 mile north-east of the church, down a lane off the Assington road, lies the Chapel of St. Stephen. This was the private chapel of the Manor of Tany, or Tauney, and was dedicated to St. Stephen on St. Stephen's Day 1218, by Stephen Langton, Archbishop of Canterbury. It contains the effigies of the 5th, 8th, and 11th Earls of Oxford, the only survivors of the 21 tombs, once in the old Earls Colne Priory, which fell into ruins after the Reformation, and of which no trace now remains. Owing to confusion in trying to piece together the tombs, after the destruction of the original Priory, although there are, apparently, only three tombs with effigies, it seems likely that these are, in fact, made up of parts of seven different tombs. This chapel had fallen into disuse after the Reformation, and became, among other things, a barn. Hence its local name of Chapel Barn. It was restored to its present condition in the 1930s by members of the Probert family , and re-consecrated. It has long been popularly held to stand on the traditional site of the coronation of King Edmund, Saint and Martyr, crowned King of the East Saxons on Christmas Day 855 or 856, as corroboration of which the chronicler Galfridus de Fontibus described the coronation as having taken place at "Bures, which is an ancient royal hill". It must be admitted, however, that De Fontibus was writing in the 12th century, 300 years after the supposed event.

  Return to the Origins Page