At first sight the little church of St Michael Occold, looks, perhaps, a little ordinary. Certainly it is in great contrast with the many splendid and large buildings erected in wealthy medieval days and the vast number of smaller buildings of great architectural detail and beauty that exist throughout East Anglia.

A close inspection, however, reveals much of interest both inside and out and this short guide is intended to help you appreciate and enjoy your visit to this historic building and to briefly explain many of the unusual features you will find as you wander round.

Certainly a church stood on this site in Norman times and probably in Saxon times but only a few traces of this early work survive.

The Doomsday survey, which was commissioned in 1086, mentions two churches standing in the village, the other being most likely at Benningham, where a field still bears the name Chapel Field. This is particularly interesting for it seems highly unlikely that the Normans would have carried out their vast programme of church building in the twenty or so years since the conquest. Therefore, perhaps we may reasonably surmise that at least the lower parts of the wall at Occold and, what is thought to be a Norman window, are from a very early Norman date or, more likely from a Saxon church.

The Normans had been very active in the 12th century rebuilding and extending buildings and no doubt these would have met the needs of the population for some considerable time. It is, quite likely, therefore, that little further work would have taken place at Occold until the late 13th or early 14th centuries.

Much of what we see today is the result of rebuilding and additions in the early 15th century.

Most notably this is shown in the windows which, in the main, are in the Perpendicular style which flourished from the late 14th century up until the time of the Reformation in 1534. However, there is clear evidence of earlier work: mainly in the chancel which will be mentioned later.

At all stages of its construction there was probably an enormous amount of involvement from voluntary labour, local people working after their day's work in the field, with the building materials collected from the rivers running on either side of the village. Of course, the labouring would have been under the control of the various building trades much as is the case today. There were guilds of masons, glaziers. carpenters and so on and the master mason would have supervised all the work in much the same manner as the architect of today.

The thick rubble walls would be chiefly of flint which is found in abundance in the region. Flint which was knapped or fractured was used to adorn special features such as the tower and buttresses and, as can be seen on many other churches nearby, the external walls.

INTERIOR

We can begin our little tour of the interior by standing under the tower arch and looking east. It will be noticed that the chancel or choir is a little to the north of the main axis of the church. This allowed for a side altar in the nave which would have been placed against the wall immediately behind where the pulpit now stands.

As we move eastwards we see high up above the font, the coat of arms of Charles II. This is an interesting piece of work, being painted on wood and probably executed by local talent of the time.

The FONT is chalk stone. This is 15th Century work but is badly defaced and generally of uninteresting appearance and spoilt by thick coats of paint. Round the base are four Victorian tiles, depicting the four apostles.

At this point you will be level with the north and south doorways which are Early English, although the north doorway behind the font has been blocked up.
 

At this point from very early times the sanctuary was partitioned off from the main body of the church. Sometimes this was done by using a veil. Gradually as ideas changed, a more open view of the altar was sought, but there was a definite aim at creating a partition between the nave where the people stayed, and the sanctuary. Thus screens were erected.

At the time of the Reformation it is probable that every church had a screen. In general wooden screens appeared in the 13th century. The screen at Occold would almost certainly have been built at the beginning of the 15th century. Very little remains today and we may presume that the original screen here was not amongst the finest examples. Also at this time, colour decoration was being developed and evidence exists of such decoration at the base of the remaining panels of the screen.

At about the same time it became commonplace for ROOD lofts to be constructed, rood being the old Saxon word for cross. This was a gallery surmounting the screen, originally supporting the great Crucifix, generally with flanking statues of St John and the Virgin.

Access to the loft was by a spiral staircase, sometimes at each side. The stairs are visible on the south wall but it will be noticed that the doorway to the stairway on the north wall has been blocked off. This would have been by order of the day.

At the Reformation there was wholesale destruction of church fittings and roods and rood lofts were all destroyed although some screens or parts thereof, as at Occold remained. The only screen in Suffolk that has been restored with lofty rood and everything complete, including superb decoration, is at Eye.

The PULPIT is Stuart. A good example but in a very poor state of repair. The back is missing but a small section remains with the date 1620. According to Canon S P Stringer, this was once a three decker, but this seems unlikely in view of the space this arrangement would have taken in such a small building.

On the south wall, partly hidden by the pulpit is the PISCINA which would have served the altar once sited here. The piscina is a shallow stone basin used for draining the water used in ceremonial washing. This dates from the late 14th century and is still used today.

Moving now into the choir we will notice a few traceried panels which may have been part of the original rood screen. The benches themselves show little merit but the bench ends of the shaped or shouldered type are typical of East Anglian work. At Occold the bench ends are simple, unlike the more elaborate traceried variety frequently found in the region, but as a crowning feature, note the beautifully carved poppy heads to each bench end.

During redecoration in recent years a mural figure was uncovered by the window behind the Priest's stall. Most medieval churches were heavily decorated with murals but today only fragments remain. As one writer puts it, they have either been obliterated with a coat of Reformation whitewash or torn down later with the old plaster covering of the walls.

At Occold, the mural has been obliterated with a coat of 20th century whitewash.

Canon Stringer mentioned that this now 'hidden' mural possibly dates from the 1300's. This is quite likely and it is strongly hoped that when a programme of renovation and redecoration is considered that this precious example of medieval art will once again see the light of day and be preserved for future generations.

The organ is one of more than two thousand single and two manual instruments built by the reputable firm of Henry Bevington & Sons of Soho, London.

This tiny instrument of just three stops was built about 1870. Like so many small instruments of the period it does not possess any visual artistic merit but it has a pleasant tone of robust nature. A particularly interesting feature, is the small single octave pedal board which is, unusually, positioned centrally beneath the keyboard and operates the bass pipes of all three stops.

Between the organ and the sacristy door will be seen the tiny early Norman or Saxon window. The sacristy doorway with its decoration is 14th century work.

Now we have arrived at the SANCTUARY. Without doubt there would originally have been a stone ALTAR, but all such fittings were ordered to be torn down at the time of the Reformation. Today the Altar is of oak with a carved front upon which is the inscription

Agnus Dei qui tollis peccata mundi misereri nobis.

O lamb of God that takest away the sins of the world, have mercy upon us.

Behind the altar is a stone and marble REREDOS installed in 1854. The figures at the back depict the four apostles Matthew, Mark Luke and John. It appears that at one time a Tabernacle occupied the central space of the reredos.

Also there is an interesting MISERICORD stall. The misericord is a flapped seat which, when in the up position provides a slight projection. This would allow some form of rest for the less able during the long periods of standing during the offices. The wood carver of medieval days must have derived great satisfaction from the variety of treatment given to these little seats. Sometime they were humorous scenes, sometimes they depicted bible scenes, or historical events. Here, the carving is magnificently preserved and depicts Mary crowned which, apparently, is quite rare. Also note the coloured decoration visible beneath the carving. The Occold misericord happily escaped the Puritans zest for destruction, although a more recent small four legged visitor has enjoyed nibbling away at the base!

The east end is very often the oldest remaining part of our ancient churched. Here at Occold, the clues to work of the 14th century and possibly before, are the two larger windows on the south wall. These, along with those in the nave, are 15th century Perpendicular, but the window behind the priests stall is of 14th century Decorated style.

The surrounding arch is a most distinctive fashion of this period being of the ogee type with its decoration.

The depth of the south window of the sanctuary draws attention to the probability that once there was a carved and canopied SEDILIA.

The stone ledge or seat where the Priest would sit is still in place as is a fragment of carving on the east flank of the window. Next to the sedilia is the piscina to serve the high altar but the drain has been covered.

The priests doorway is 14th century work although the inside arch is Perpendicular, presumably rebuilt to accommodate the new and larger window at this point.

The east window is early English in style, but there is evidence that at least some of the mullions have been rebuilt at some time.

The Victorian chancel roof is of simple arch braced design.

As we return westwards, we see some fragments of stained glass behind the Priest's stall. Probably this is all that remains of what, in the past would certainly have been a stained glass east window.

There are a few MEMORIALS and BRASSES. Of particular interest is the 17th century painted board of the Humphrey family on the south tower wall and the fine brass memorial to William and Joan(na) Cobbald or Corbauld, which lies in the central aisle. This has been in the church since 1490.

Finally take a look at the lofty tower arch which seems to call for a dignified screen perhaps supporting a west end organ with handsome casework.

THE EXTERIOR

The TOWER was built in 1426 and is of flint and stone with single buttresses. It is a good example of a type to be found in many parts of the region. Considerable restoration work was completed in 1979.

There are five bells, four of which are in good order whilst the fifth is badly cracked. Until about 1950 the old church clock, dated 1708 was still working. At this time there was no face, but it ticked away and struck the hours. The machinery is now completely rusted up and its original cabinet is in a ruinous state.

The west doorway to the tower is quite a good example, but the doors are in poor condition and being blocked up from the inside, any form of restoration would be difficult to achieve. Note the GARGOYLES at the top of the tower with projecting pipes to throw rainwater clear of the building.

At the east end of the church it is possible to view the SACRISTY, which appears to be one of the oldest parts of the building. Note the two windows one above the other which indicates that at one time there would have been a room in the upper part. Such an upper chamber would have been used for the safe custody of valuables, or as a room to be used by the sacristan. In many churches where there is an upper chamber over the porch, (parvise) this was frequently used as an armoury or a library.

Outside on the north wall can be seen the rounded projection containing the stairs leading to the rood loft. In most churches where the stairs were blocked up. even these external projections were demolished and the walls made good. Fortunately, this one survived. How interesting it would be to unblock the internal door to this particular stairway!

The buttresses at the east end are adorned with flintlock and were probably added when the tower was built in 1426.

Our short walk round the church is now complete. Hopefully it will have helped to have given a feel for the history of this little building and to have explained some of the questions that pass through our minds when we see the remnants of a past age and wonder why things are as we see them today. Perhaps we will have in our minds eye a picture of what our predecessors did to the glory of God and, sometimes undid!

The centuries have taken their toll. Extensive renovation of this little gem is required so that, not only can we more enjoy this corner of history, but that we leave this important part of our heritage in good order for those who come after.

ADDENDUM

The stained glass windows, donated by the Sturrock family, were installed in November 1995, in memory of their sister Nerissa Jones, who died in November 1985. Nerissa and her son Max lived in Occold in the house next to the church, Ashburnham. She was a widow when she came to live here, and earned her living as a children's book illustrator. She attended the church and become very interested and concerned in its maintenance and future upkeep, and Max attended the Primary School.

The windows were made by artist Lou Spencer, a friend of Nerissa's at her studio 'The Stained Glass Place' Chiswick, London. Lou Spencer says the windows were to fit in with the special atmosphere of the church, rather quiet and mysterious. The imagery used is both universal, the tree of life and flora and fauna; and also very personal - as, included in the foliage are fragments from Nerissa's sketch books, fairies, elves, flowers, and the intertwined letters of all the family names.

Father Richard Smith, then Priest-in-charge, suggested keeping the light feeling that existed in all the leaded windows in the church. The windows were made up from old and new glass. the old pieces coming from damaged panels (perhaps early Victorian) that Nerissa and Lou had found at the back of the church, and had originally been in a window in the belfry. These are some of the tree border pieces and fleur de lys.