Some fine medieval carpentry at Denston in Suffolk
- Michael Smith
- 1 day ago
- 6 min read
Tucked away in a remote part of Suffolk, the church of St Nicholas at Denston contains a wealth of exceptional medieval carpentry which will delight any visitor in search of something magical.
St Nicholas, Denston - an unusual hall church in Suffolk
The diminutive tower and unusual squat shape of the church from the outside immediately intrigues and hints at something wonderful inside. This type of building, known as a hall church, is one of eleven examples in Suffolk.
From the outside, what immediately draws the eye is the arrangement of the nave into seven bays, most of which are indicated by a large window with a smaller clerestory window above. Despite its rural location, this was clearly a building of significance.
The founding of the church at Denston
A church may have existed at the site since the twelfth century although the oldest part of the church today is the tower, which dates to the later years of the fourteenth century.
The vast bulk of the church, however, was built between 1478 and 1500 following the death of John Denston or Denardiston. It was erected as a collegiate church, one without a diocese, and was fundamentally connected to the singing of masses for John and his family.
Because the building was largely built all as a piece, it is blessed with a pleasing architectural harmony; although there are later accretions, they are not intrusive.
As a result, much of the original visual intention is retained although of course a great deal of the colour so vital to medieval churches has long since disappeared.
The wealth of medieval carpentry at Denston
As with many Suffolk churches of the late medieval period, what impresses is the intensity of light, combined with craftsmanship of astonishing quality, much of it funded by the wool trade.
Although relatively small, the church clearly had wealth behind it and, at St Nicholas, it is the carpentry in particular which is what makes the visit worthwhile.
As we stand by the font, they eye is drawn in multiple directions but first it is important to look upwards towards a stunning arch braced cambered tie-beam roof.
The cornice (above) is exceptional. Arranged in pairs above many of the clerestory windows are richly carved animals, fashioned as if in hunting scenes and seemingly representing dogs, a manticore, harts and hares.
Although many of these have been lost to time (or may not even have been completed), many survive to provide a moment of instant exhilaration to any visitor entering the church for the first time.
Bench ends showing animals and birds
The zoological theme is repeated as we look around us at ground level where a veritable menagerie of some 64 creatures is represented on the bench ends of the fifteenth century pews. Six of these have been mutilated over time but the vast majority are intact.
These creatures are fascinating and, with fantastical representation (in many cases), they look to have been copied from a bestiary. One creature with large ears may represent an elephant; another looks like a cowering fawn; there are lions, birds, rabbits, dogs and friendly woodland creatures to complete the scene.
Shockingly, these benches were the subject of vandalism as late as the 1970s and two of the animals, removed by vandals, were spotted for sale on Ebay. The vendor, ignorant of the crime and selling the items in good faith, donated them back to the church.
The benches themselves are of further interest because they also retain their skirting to retain the reeds and rushes which would originally have been used by parishioners to kneel upon during services.
The rood screen, misericords and chancel
Approaching the chancel, we see more of the medieval carpentry at Denston as we pass through what was once the rood screen and enter the chancel.
The rood screen itself is determined by the remaining beam above our heads (which is both moulded and embattled) and the lower part of the screen which now separates the nave from the chancel. This lower section still retains its superimposed tracery, a feature also of the main church door.
The embattling detail of the rood screen beam is also reflected on the bench ends and in the corbels which hold the beams to the nave roof, giving a pleasing aesthetic harmony to the church.
The choir stalls of the chancel itself are also of note, containing four misericords against the east side of the rood screen. While three of these contain floral motifs, a fourth depicts a crane which is either standing from being seated on an egg or is holding a stone.
Although not medieval, the seventeenth century communion rail is exquisitely fashioned in a barley twist fashion. The pulpit is of the same period while the altar, though following a seventeenth century aesthetic, dates from 2003. It features the beasts of Denston along its lower rails.
Other features of note at Denston
Because the church is so compact, it is easy to miss those features not represented by the carpentry.
St Nicholas’s is blessed with a particularly fine early sixteenth century brass of Henry and Margaret Everard (ca. 1524) while in the nave there is also a brass from the same period featuring a woman of the Drury family (ca. 1530).
South of the chancel, a chapel is dedicated to the Robinson family who came into the possession of Denston in 1618. Hanging in the chapel is a tabard, helmet and sword of the Robinsons (see also the link at the end of this blog for information on Denston Hall).
A similar chapel to the north contains an altar tomb containing a pair of shrouded cadavers which may represent John Denston and his wife, Katherine (or Catherine) Clopton, although this is unclear.
The top of the tomb itself (showing the recesses for late medieval family brasses now lost) seems larger than what lies below. This suggests the tomb may have been altered over time although cadaver tombs themselves are distinctive to the fifteenth century.
Notably, the east window of the church contains a great deal of medieval glass although this seems to have been assembled in later years to create the collage we now see.
It is thought that the figure in the second panel from the left, at the top, may represent Sir John Denston. The church guide book says that it is very similar to a figure known to be Sir John at Long Melford, also in Suffolk, and where his wife's family had been lords of the manor.
Although sadly defaced, the fifteenth century octagonal font is worthy of note. Each face contains one of the seven sacraments while the eighth, facing the visitor when looking towards the chancel, features the crucifixion.
In compiling this blog post, I am grateful for the information provided in the extremely informative church guidebook, which is based on an earlier guide book by Irene Fleming.
Gallery showing features and architectural details at the church of Saint Nicholas, Denston, Suffolk
Further information
Historic England listing for St Nicholas, Denston, click here
For a detailed article on Denston Hall and its surrounding landscape, click here
About the author, Michael Smith
I am a British translator, illustrator and performer of medieval literature. I am also a printmaker, with work in private collections worldwide.
My books, including a translation of Sir Gawain and the Green Knight and the Alliterative Morte Arthure, are available through all the usual outlets. My translation of The Romance of William and the Werewolf was published in 2024. All my books feature my own linocut prints as their illustrations.
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