| The History Of Saint Nicholas' Church DenstonMonumentsIn the nave between the benches in a stone with a brass of a woman 
  and a shield above the head. The inscription has been removed. Another 
  stone near the pulpit has also had its inscription removed and the 
  absence of a coat of arms suggests that it may be that of a prominent 
  though unenobled parishioner. In the chancel is a fine brass of 
  Henry and Margaret Everard, the head of Henry Everard resting upon 
  his crested and mantled helmet, and an inscription, now gone, copied 
  by Davy in 1814, read: "Orate pro aiabus Henrici Everard Armigeri 
  et Margaretae usoris ejus quae Margareta obiit 6 die Augusti Anno 
  Dni 1524: cujus animae propitietur deus. Amen." Within the 
  sanctuary are stones. reading from south to north, to Elizabeth 
  Jones, mother of John Robinson, 1699; Clement Raye, B.D., 1695 and 
  Mary his wife, 1680 (Clement Raye was a former rector); then come 
  two stones, the brass inscriptions lost and no place for coats of 
  arms; these like the stone in the nave are probably those of prominent 
  parishioners, or possibly priests. In the north aisle, before the holy table, is another stone without 
  its brass, similar to those within the sanctuary. The original stone 
  high altar, retaining two of its five consecration crossets, is 
  set in the floor near by. The usual length of these altar stones 
  was ten feet, so that this has probably been shortened by about 
  two feet, accounting for the presence of only two crosses. The central 
  cross was probably covered by the brass inscription, which reads: 
  Here lyeth buryed under this stone the bodye of William Burd esquire 
  who had to wife Mirable and was married to her 40 years, and had 
  issue by her v sonnes and vii daughters, which William deceased 
  the xii day of June in the yere of our Lord God, 1591, being of 
  ye age of 69 yeres." Rhen Davy visited the church in 1814 there 
  was a coat of arms also on the stone. There are in this aisle as 
  in the south aisle many monuments to the Robinson family, who were 
  connected by marriage with the family of Clive of India. To the 
  south of the high altar is an altar tomb to members of the Robinson 
  family, with inscriptions commemorating those who died elsewhere. On the north of the high altar is an altar tomb with two shrouded 
  cadavers beneath. In 1814 when Davy visited the church, the appearance 
  of the tomb seems to have been as it is today, with the canopy above 
  the figures covered with a large slab of marble, on which were once 
  figures in brass of a man and a women and three shields above and 
  below them and round the edge of the slab an inscription in brass. 
  There are traces of painting on the head of one of the cadavers. 
  The ancient tiles round them are similar to some near the High Altar. 
  The arcading on which the slab rests seems to be much later in date. 
  'The slab is noticeably larger than the base on which the cadavers 
  rest but in spite of that there is a possibility that it is a composite 
  tomb of the donors of the chantry. The arcading would then have 
  been of a different design. It could also be that the slab was placed 
  in position later and that the cadavers originally had no canopy 
  but were on a plinth similar to that of John Baret's tomb in St. 
  Mary's, Bury St. Edmunds. Whatever the appearance of the original 
  tomb was, it is likely from its position, which is that of the greatest 
  honour, that the donors John and Katharine Denston are buried here. 
  Before the Reformation one of the Easter ceremonies was the placing 
  of the Crucifix from the high altar in an Eastern sepulchre. This 
  was usually a wooden structure with hangings and it was placed on 
  a suitable tomb to the north of the high altar, though occasionally 
  special features were constricted for the reception of the Crucifix. 
  The Clopton tomb in Long Melford church was used for the Easier 
  sepulchre and is in a similar position. Tombs with cadavers are 
  found in a number of churches and are mainly of the fifteenth century 
  when preoccupation with the physical aspects of death is exemplified 
  in realistic sculpture and in such paintings as the "Three 
  Living and the Three Dead." |