Kettlebaston is a tiny, remote village in west Suffolk, 3 miles E of Lavenham and 11 miles SE of Bury St Edmunds. It stands on a hill in rolling arable land and consists of a cluster of houses around the church. The bright interior of St Mary's, with its rood screen painted with figures of saints by Enid Chadwick in 1954, flanked by altars to the Virgin and the Sacred Heart, betrays its Anglo-Catholic background, and until the retirement of Father H. C. Butler in 1964 the Roman Mass was said here every day. The church consists of a nave, chancel and W tower. The late-12thc S doorway, under an 18thc. brick porch, and one blocked N window testify to the Romanesque origins of the nave. The remaining windows are 15thc., and the N doorway is plain and probablyc.1300. Inside, there is a rood stair to the NE of the nave, and the splay of the blocked N window has 13thc. foliage wallpainting. The nave is of flint, newly mortar-rendered at the W end of the S wall, and with traces of old render on the N. Brick buttresses have been added to N and S. The chancel is of flint and very long, with old mortar render on the N wall and a brick vestry added there too. The chancel is apparentlyc.1300 in origin; the sedilia and piscina date from this time, and there is a 14thc. Easter Sepulchre on the north side. One of the S windows is 14thc. too - an unusual two-light composition with ogee heads, but the remainder are either 15thc. (one N window partly blocked by the vestry) or 19thc. replacements. The three-light reticulated E window is a replacement. The W tower is of flint and has diagonal buttresses, a polygonal stair on the S and a battlemented parapet. Its bell-openings are reticulated, and the tower arch also indicates a 14thc date. It once had a small spire. The church is recorded to have been built anew in 1363 (Tricker), and this work apparently included the rebuilding of the chancel and the construction of the tower. There were repairs to the chancel (1864) and the nave (1879). There was a restoration including repairs to the roofs and floors by H. J. Wright of Ipswich in 1901-02, and in 1902-03 the chancel was reordered to the designs of the Anglo-Catholic priest / architect, Ernest Geldart. restorations in 1922 and 1924-25 by Hunt and Coates of Bury St Edmunds, aimed at repairing the nave walls and the roof, and underpinning the chancel east wall, and further repairs in 1943-44, 1951-52 (by B. A. Hatcher of Ipswich) and 1963-64 (by Caroe and Partners). Romanesque sculpture is found on the south nave doorway, and there is a carved 12thc. box font that, unusually, retains its staples and still has a lockable lid (dating from 1929).
The Domesday Survey records that before the Conquest, St Edmundsbury abbey held four free men in Kettlebaston and Manton, with two carucates of land and six acres of meadow. In 1086, Gamas held one carucate and Humphrey one carucate in 1086, and that others held land there too. No church or priest was recorded. The manor is known to have passed to William de la Pole, Earl of Suffolk, in 1445 when he married the widow of Sir John Phelep, the former lord.
Benefice of Monks Eleigh with Chelsworth and Brent Eleigh with Milden and Kettlebaston.
Single order, pointed. The jambs have coursed angle shafts with badly worn bases, originally with a double roll below a hollow and a thin necking. Capitals are double scallops with a tuck on the angle, narrow wedges between the cones on the faces and heavy roll neckings. Imposts are quirked hollow-chamfered, and the arch is two-stepped, the inner plain and chamfered; the outer decorated with a row of sawtooth. The arch has four voussoirs on each side, and of these the top one on each side is irregular in size and has been crudely cut down. The top west voussoir is narrower than the rest and has no sawtooth ornament. The label is double chamfered.
|h of opening (ignoring step)||2.43 m|
|w of opening||1.00 m|
At the W end of the nave, midway between the lateral doorways. The font has a bowl that is approximately square, standing on a central square shaft with chamfers making it octagonal. At the foot the shaft flares out and the chamfers die to points, so that the footprint is square. At the top the octagonal shaft flares to an octagonal upper surface. The angle shafts are square, chamfered on the outer angle only, and with moulded capitals and bases similarly uncarved on the faces under the bowl. The NW shaft is inverted. The shafts stand on a square chamfered block. The bowl is 12thc; the supports 13thc. The bowl is cut from two square slabs. The lower slab, thin and undecorated, rests on the shafts; the upper has a plain band below the upper rim, then a band of single cable running around the bowl. Below this is a row of sawtooth on every face except the west, and the rectangular fields on the four faces are decorated with relief designs, described below. The angles are carved with clustered shafts with fictive scalloped capitals with cable neckings.
E face: Carved with parallel vertical reeding.
N face: Carved with a single row of inverted nested-vee rolls covering the entire field with the axis running vertically up the centre of the face. The rolls are irregular is width, and the vee is not symmetrical, being steeper towards the NW angle.
W face: This has no sawtooth band at the top, and the field is carved with regular nested vees, alternately roll and wedge section.
S face: Carved in bands. Below the cable and sawtooth bands noted above is another sawtooth band, a band of single cable and two more sawtooth bands. The bowl is round and lead lined, and the upper rim retains its staples in the SW and NE spandrels. These now secure a modern timber and iron lid.
|ext. w (E-W)||0.75 m|
|ext. w (N-S)||0.75 m|
|h. of bowl||0.44 m|
|h. of shafts||0.43 m|
|int. diameter of bowl||0.59 m|
|overall h. of font||1.02 m|