Gipping chapel (church), Suffolk

This was originally the chapel of nearby Gipping* Hall (which was demolished in the nineteenth century), home of the Tyrell family. James Tyrell (b. c.1455) was a supporter of the Yorkist cause and thus of the Duke of Gloucester (later Richard III); he fought for Edward IV at the Battle of Tewkesbury in 1471, and was then knighted by the King. He built the chapel in about 1474-80. When Richard III seized power in 1483 he was rewarded for his loyalty by being appointed the High Sheriff of Cornwall, and later the Lieutenant of Guines (part of Calais, at that time an English possession). Sir James has long been suspected of arranging the deaths (following the King's orders) of the Princes in the Tower (the twelve year old King Edward V and his younger brother, the Duke of York), though this is far from certain.

Surprisingly, after the Battle of Bosworth in 1485, in which Richard was killed (and Sir James didn't fight, being in France), when the Lancastrian Henry VII came to the throne he pardoned Sir James and reappointed him to the French post. He must have kept his nose clean for sixteen years, but in 1501 he threw in his lot with the Yorkist claimant to the throne, Edward de la Pole, the Duke of Suffolk. This didn't go well for him because he was arrested for treason, and eventually beheaded in 1502. (His father had been beheaded in 1462 for allegedly plotting to murder Edward IV.)

The chapel comprises a nave and chancel, plus a northern room leading from the chancel, a vestry and/or living quarters for the chaplain, built a decade or so later. An inscription over this room's doorway reads 'PRAY FOR SIR JAMYS TIRELL: ANNE HIS WYF' .

The tower was added c.1600, and it is widely agreed that it seriously detracts from the visual impact of the rest of the chapel; this is largely because it is cement-rendered in a horribly drab colour. It's very likely that the render is covering up some attractive brickwork.

The chapel itself provides a wonderful display of flushwork, in which dark (almost black) knapped and shaped flint is contrasted with creamy limestone; the walls are mostly chequerwork while in some places, such as above the south door, there are more complex patterns - little quatrefoils, for example. 

The most extraordinary example of this is found in the north wall of the 'vestry', where there's what appears to be a 'bricked up' (actually 'flinted up', of course) oriel window. In fact it's never been a window, and is actually - and at least a little bizarrely - a chimney. At its base there are some elaborate panels, including, in the centre, a pattern like a geometrically-constructed face within a wreath, and at the top some heraldry. Above the 'window' is the chimney's vent. (On the west side of the vestry is a 'genuine' bricked up window.)

The buttresses (those at the east end are octagonal) have flushwork panelled tracery, and various small carvings, notably the Tyrells' 'logo', a device consisting of three interlinked semicircles making something like a three-petalled flower (a reference to the Trinity), known as the 'Tyrell knot', which is found throughout the building. The letters AMLA also occur, probably a reference to Anne Arundel, Sir James' wife (her middle names were Morley Lanherne), or the phrase 'Ave Maria Laetare Alleluia' (Hail Mary, rejoice, God be praised!'). The Arundel hearts also appears, consisting of an upside down heart superimposed upon one the right way up. 

Externally the chapel is a little late Perpendicular masterpiece - the 'little' here is important as the style works best on a small scale, and gets repetitive and wearing very quickly when it's big.** The interior doesn't disappoint. There are ten big windows, all but one filled with plain glass, so the light bursts in. 

The furnishings are unostentatious. There are some 15th century benches at the west - one has the Tyrell knot carved on its end - and the rest are mostly Georgian, which were painted in 1970. Painting old woodwork is generally to be avoided, but I think it works well here, giving a unity to the interior, complementing the white walls and brick floor.

The vestry is a little disappointing - nothing much to see except the fireplace with its Tudor arch, and when I visited blocked by stacked chairs (the chapel seems perfectly sufficiently supplied with benches - where are these chairs put when they're needed?). Could this ever have been the living quarters of a chaplain, or anyone else? 

Originally some, or perhaps all, of the windows would have had stained glass, which would have been smashed by iconoclasts in the 1530s and 40s or the 1640s and 50s. (Or possibly some of them could have been removed and hidden by the Tyrells when they feared that their windows were in the firing line, which might explain why some of the figures are fairly complete.) What survived dates from c.1500 and was gathered together in the east window in 1938-9.

Peacock feathers and a boar's head from the Tyrells' crest.

On the right an extravagantly lachrymose female saint, probably Mary from a Crucifixion scene.

In the centre shields held by small hands, displaying the Instruments of the Passion: the Crown of Thorns, the Five Wounds, two whips, three nails, and vinegar-soaked sponge and lance.

On the left a weeping male saint, probably St John. On the right a few details can be discerned: a trumpet being blown by an angel (whose hand and wing are visible), and at the very bottom a small head, possibly female, with long blonde hair and wearing a crown-like headdress. 

Two bishop saints, both carrying, and evidently closely studying, books. The head of the figure on the right looks like a poor restoration. Above their heads, within the canopies, are depictions of parts of Perpendicular windows much like Gipping's. 

A king saint, probably Edward the Confessor. 

On first entering the chapel you might spot what seems to be a cupboard for hymn books etc next to the pulpit - a slightly odd place to put it, you might think. It's a pleasant surprise to find that in fact it's a very ingeniously designed (by Peter Bumpstead) compact organ (1994), exactly right for the space.

I've left my favourite feature until last. In 1743 the chapel was refurbished (many of the fittings date from that time); Gothic architecture was then generally regarded as barbaric and barely civilised, and it wasn't uncommon for attempts to be made to classicise (and thus civilise) medieval buildings. In Gipping's case this was done by having fictive classical columns, entwined by curtains, and drapery painted around the east window. Such attempted updatings were probably quite common, though many of them would have been removed during the 19th century's Gothic Revival, so Gipping's example is a rare survival. It is charmingly naive both in conception and execution.

Gipping chapel is open during the day.

* Don't ask me if it's pronounced with a hard or soft 'g'. 

** http://www.icknieldindagations.com/2018/11/spot-difference-why-i-dont-like-kings.html

http://www.suffolkchurches.co.uk/gipping.htm

https://historicengland.org.uk/listing/the-list/list-entry/1352278?section=official-list-entry