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St Michael's Mount is a tidal island 366 m (400 yd) off the Mount's Bay coast of Cornwall, England, United Kingdom. It is a civil parish and is united with the town of Marazion by a man-made causeway of granite setts, passable between mid-tide and low water.
Lewes, St Michael's Church.
On the tower there is a figure of St. Michael by Harry Phillips (1976).
The statue on the exterior of the tower was sculpted by Harry Phillips, a member of St Michael's congregation, in 1976. Phillips had been Head of the School of Sculpture and Pottery at Leeds College of Art
More info can be found here:-
test.sussexparishchurches.org/product/lewes-st-michael-hi...
St. Michael's Church was built in 1858-59 from native sandstone. The 156-foot spire includes a clock and four bells in the tower.
St Michael’s Tower stands on the highest part of the city of Gloucester where the four main streets cross. Some 25 metres in height it was built in the footprint of the nave of a previous church dedicated to St Michael the Archangel. It was built c.1465 and has been a familiar sight to Gloucestrians for nearly 550 years, throughout the reigns of 23 kings and queens.
A church had been built on the site by the 12th century, the nave extending down Eastgate Street. Roman remains were found under the tower, and the Roman street was slightly further south than the present Eastgate Street.
By 1100 Gloucester had 10 early churches. St Michael the Archangel parish included an area of Barton Street known as Barton St Michael. In the 13th century, St Michaels was one of three small churches that were close together, the others being All Saints at the Cross in Southgate Street, and the Chapel of St Martin’s to the north-east in Eastgate Street. St Michael’s and its dependent St Martin’s chapel were almost certainly Saxon in origin.
A churchyard was acquired on the south side in 1366 but, prior to that date, burials were in the Lay Cemetery of St Peter’s Abbey – this now Gloucester Cathedral. This area is now a car park in College Green. The churchyard was full by 1857.
In 1648 the parish was united with two churches in the city but they were separated again at the time of the Restoration. Those churches were St Aldate’s in St Aldate Street, and St Mary de Grace, which stood in the centre of Westgate Street. Both suffered damage during the Civil War and Siege of Gloucester 1643. The fabric from them was recycled, some of it being used at St Michael’s. Glass from St Mary de Grace was reused in St Michael’s church.
This part of the city was cluttered and busy, and small shops, booths or tenements were clustered around the walls of the tower and church. A rental of 1455 shows various tradespeople using the booths – one was an apothecary, another dealt in hardware goods, and the west porch itself was rented to a card maker. Later the porch was built over, and several tenements were linked and used by a bookseller and stationer by 1662. The shops began as wooden structures but developed over time to over three storeys in height. An ironmonger who rented the porch in 1734 was permitted to build a cellar eight feet deep under it!
In the centre of the crossroads stood an elaborate stone cross – the High Cross – which was 10.3 metres high. It was taken down in 1751 because of the congestion around it, “for the better convenience of carriages”. The tenements hid St Michael’s, blood ran in the gutters from the butchery trade, the streets were filthy and smelly, people and horses and carts had trouble getting through it all. Finally the tenements themselves were pulled down to widen the streets.
St Michael’s was a wealthy parish, but the church was often in need of renovation. In 1846 it was decided to completely demolish the church, together with the west porch, and build a new one. The ancient tower remained, and a new Victorian church was built onto it by 1851 when, once again, Eastgate Street was widened to accommodate the increasing traffic.
St Michael’s Church closed in 1940, and by 1952 the parish was united with St Mary de Crypt. The Victorian church was demolished between 1955 and 1956. Parts of this building have also been recycled and some are in use elsewhere, including most of the 10 bells from the belfry. At the end of the 19th century, St Michael’s church had a very famous band of ringers, known as St Michael’s Juniors.
The tower has been a city-centre landmark ever since, and has had various uses. It became a place where shoppers could walk from Eastgate Street into Westgate Street when both sides were open. It offered shelter from the wind and rain, and had seats for people to rest on.
From 1976 until 1981, the two upper floors were opened up and used as a bell museum. Four years after that St Michael’s Tower reopened on the ground floor as a tourist information centre. The Gloucester MP, the Right Honourable Sally Oppenheim, performed the opening ceremony in the presence of the Mayor of Gloucester, Councillor Terry B Wathen, and the Chairman of the city’s leisure services, Councillor Mike Pullon.
In 2004 the Gloucester Civic Trust’s Street Survey Group became concerned about the building and approached the owners, Gloucester City Council. The tower was being used as a storage place. Civic Trust volunteers formed a group with the aim of saving the tower from further decay, and the city council granted the Trust a lease on the building. In 2009, the building will become the home of Gloucester Civic Trust and ‘A tower of learning’ – a place where the community and visitors can learn about Gloucester’s rich past, while recording today’s history for future generations to enjoy.
Information from Gloucester Civic Trust website
gloucestercivictrust.org/about-gloucester-civic-trust/st-...
Click-click. St Michael’s Bridge is the place for romantic hearts. Grab your smartphone and take some spectacular selfies. Wherever you look, there is a breathtaking view: you are surrounded by 360 degrees of Ghent’s charming beauty. Get an extra-special fairy-tale view of the heart of Ghent at twilight, when all the historic sights are gorgeously illuminated.
visit.gent.be/en/see-do/st-michaels-bridge-romantic-ghent
Photo by Martin Corlazzoli
© Stad Gent-Dienst Toerisme
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St. Michael's is grade II listed along with six of the twelve dwellings in the village. The church dates from the 12th century although little of the original remains. It was very much altered at the end of the 18th century when many of its original features were destroyed or covered with plaster.
In 1902 another restoration stripped the plaster and uncovered the 12th century chancel arch and discovered a 14th century grave slab bearing the arms of Fitz Conan, which is now in the chancel. The windows are from the last restoration. The font is also 12th century.
St Michael's Church
Glentworth
11.05.2019 14:06 BST
24mm 1/160 sec f/11.0 ISO 100
www.churchesfestival.info/2015/02/glentworth-st-michael.html
"St. Michael's Church (German: Hauptkirche Sankt Michaelis, colloquially called Michel) is one of Hamburg's five Lutheran main churches and the most famous church in the city. St. Michaelis is a landmark of the city and it is considered to be one of the finest Hanseatic Protestant baroque churches. The church was purposely built Protestant unlike many other Hamburg churches which were originally built by Roman Catholics and were converted to Protestantism during the Reformation. It is dedicated to the Archangel Michael.
The 132-meter high Baroque spire totally covered with copper is a prominent feature of Hamburg’s skyline and has always been a landfall mark for ships sailing up the river Elbe.
The present church building is the third one at this site. The first one was built from 1647 to 1669. It became the church of the new town (Neustadt), which was created in 1625 inside the new city walls, and which grew steadily since. In 1687, the Michel became the fifth chapter church (Hauptkirche), as the new town (Neustadt) became a parish. That church was destroyed on March 10, 1750, by a lightning strike. The original church has been replicated and built in 9 different cities around the world.
In 1786, a new construction following the design of Johann Leonhard Prey and Ernst Georg Sonnin was completed. This is the church as we know it today. It was reconstructed twice in the 20th century: after catching fire in 1906 during construction work and after the bombings of 1944 and 1945. Since 1983, renovation is ongoing: first the spire and then the roof."
Source: wikipedia.org
The final twelve images from St Michael's., all unedited, I just don't seem to have the time right now, but I think worth seeing, especially the faded glass seen in some of the Victorian windows.
Sometimes, when you enter a church, it has been so heavily restored, it is almost impossible to tell whether the church is ancient or not, so total has the restoration been.
And that was the case with St Michael's, an impressive building, one with structural issues as the southern wall of the nave is leaning at an alarming angle, but seems stable enough.
Most of the stained glass windows are suffering from rather dramatic sun damage and fading, to the extent they look very poor indeed.
But as ever, the welcome we received was warm, and we were told the history of the church as we walked around.
---------------------------------------------------------------
St Michael’s Church is an Anglican place of worship situated on Bailiffgate in the town of Alnwick in Northumberland, England. The current building dates from the 15th century but a 12th century Norman chapel stood on the site prior to this, reports of an earlier 8th century Saxon chapel are unconfirmed. The church is dedicated to St Michael the Archangel, in earlier times it was also dedicated to St Mary as well. It is a Grade I listed building which is included in the book “England‘s Thousand Best Churches”.
The first written mention of a church on the site is found in a charter of 1147 in which Eustace fitz John endowed the newly founded Alnwick Abbey with various gifts including the Chapel of Alnwick. Very few remnants of this Norman chapel are visible in the present day church, some surviving stones with a diaper pattern are built into the chancel. The 1863 restoration revealed some buried basements of pillars in the late Norman style of architecture which existed in the first half of the 12th century. Old foundations were also exposed by the 1863 restoration which confirmed that the Norman chapel had a long, narrow nave and a small apse. The church suffered severe damage from Scottish raids during the first half of the 14th century during the Wars of Scottish Independence. The second half of the century saw repair work undertaken which saw the present nave built and the addition of the north aisle as well as the construction of the north wall all in the Decorated style
The 15th century saw the majority of the present day church built, evidence suggest that the old church was in a ruinous state by this time. Towards the end of the 14th century the Decorated style of architecture was replaced by the Perpendicular style and it is in this design that most of the new church was built. Financial aid for the rebuild came directly from the monarch King Henry VI who issued a charter in 1464 granting the Burgesses of Alnwick a port at Alnmouth with tolls on exports from it, plus a fair and market at Alnwick that besides doing other work they might “make and repair their church”. The substantial money brought in from this Royal grant enabled the Burgesses of Alnwick to turn St Michael’s into one of the finest examples of the Perpendicular style of architecture in the north. The highlight of the 15th century work was the impressive and spacious chancel with its octagonal pillars which are elaborately sculptured.
There were no further changes to the church until the latter years of the 18th century when Hugh Percy, 1st Duke of Northumberland after renovating Alnwick Castle, repaired the chancel using his own architect Vincent Shepherd (1750-1812) assisted by Italian craftsmen. The work included a new window in the middle of the east end, a fan vaulted plaster ceiling and oak stalls for the Duke and his family. A revival in church attendance in the early part of the 19th century led to a statement in 1811 by the church councillors that accommodation was insufficient. As a result of this, a sum of £2,000 was spent in 1818 increasing the capacity to 1,200, this was achieved by removing the small galleries and adding a large one at the west end. Funds for this project came from a large donation from Hugh Percy, 3rd Duke of Northumberland, other money was raised through the church rates and the sale of seats.
When Algernon Percy, 4th Duke of Northumberland was restoring Alnwick Castle between 1854 and 1865 he agreed to finance the restoration of St Michael’s. The restoration started in 1863 and was overseen by Anthony Salvin who was also directing the work on the castle. Salvin swept away many of the mistakes of the two previous restorations, removing the plaster ceilings and the gallery. He strengthened some areas of the church and reinstated four pillars and the pointed arches to the nave which had been removed in the 1818 renewal, he also replaced some of the Decorated windows with ones in the Perpendicular style. The chancel aisle was filled with oak pews donated by the Duke.
One of the most eye catching exterior items is at the south east corner where there is an unusual lookout turret which was used to warn of raiders during the border conflicts. The turret was used in conjunction with Heiferlaw Peel tower, four miles to the north, which had a wide view of the borders and gave an early warning of any attack. The turret was again utilised in the early part of the 19th century when a landing by Napoleon’s army was feared and a series of beacons were set up around the country. The main tower stands at the west end of the church on foundations which go 30 to 40 feet below the surface, it is squat looking with battlements.
The interior features two statues which were dug up from the foundations during the 1818 restoration, they were minus the heads and have modern replacements. One is of Henry VI and the other one is either Saint Sebastian or Maurice, a local saint martyred by the Danes. There are several Medieval grave slabs built into the wall, the oldest of these dates from the 13th century. Below the west window is the modern font made from Kilkenny blue-black limestone by David Edwick of Hexham, it was a gift for the new millennium. A small window to the right of the west window has fragments of medieval glass from the 14th century within it. The rest of the stained glass comes from the 19th century and contains what is described by Nikolaus Pevsner as “an uncommonly complete and enlightening survey of 19th century glass”; it includes work by well-known makers Clayton and Bell, Lavers and Barraud, James Powell and Sons and Ward and Hughes. The east end of the church features St Catherine’s Chapel and the altar. The chapel has an interesting pillar featuring the Percy and de Vesci arms and a carving of St Catherine and the wheel on which she was martyred, it is called the Hotspur Capital and remembers Harry Hotspur, the famous warrior and son of the First Earl.
Michael's Arts and Crafts Store Sign Pics by Mike Mozart of JeepersMedia and TheToyChannel on YouTube. Michael's Arts and Crafts Store Sign
St. Michael's is a Catholic church located in Atlantic City, New Jersey, a couple of blocks from the Boardwalk. I'm not sure when the church was built; the exterior is quite attractive.
Michael’s Gate (Michalská brána) looking towards St Michael’s Tower.
DNG from 2014, processed using Affinity Photo software in 2022.
Mount's Bay, Cornwall, England
A couple walked out onto the rapidly flooding causeway just as the sun broke through the clouds for a few minutes.
The walk from Lichfield Trent Valley Station into Lichfield City Centre. Only the second time I've done it since the 2012 visit.
The former St. Michael's School Lichfield. Dated 1888. Converted into residential units by 2014.
D22328. The harbour on St. Michael's Mount, an island off the south coast of Cornwall; when the tide goes out it is linked to the mainland by an artificial causeway, but when the tide comes in a fleet of small boats ferry visitors and residents back and forth across the water. Three of these boats are just arriving from the mainland to pick up the next load of passengers waiting to leave the island.
See here for more details: www.stmichaelsmount.co.uk/
Monday, 12th August, 2019. Copyright © Ron Fisher 2019.
Sometimes, when you enter a church, it has been so heavily restored, it is almost impossible to tell whether the church is ancient or not, so total has the restoration been.
And that was the case with St Michael's, an impressive building, one with structural issues as the southern wall of the nave is leaning at an alarming angle, but seems stable enough.
Most of the stained glass windows are suffering from rather dramatic sun damage and fading, to the extent they look very poor indeed.
But as ever, the welcome we received was warm, and we were told the history of the church as we walked around.
---------------------------------------------------------------
St Michael’s Church is an Anglican place of worship situated on Bailiffgate in the town of Alnwick in Northumberland, England. The current building dates from the 15th century but a 12th century Norman chapel stood on the site prior to this, reports of an earlier 8th century Saxon chapel are unconfirmed. The church is dedicated to St Michael the Archangel, in earlier times it was also dedicated to St Mary as well. It is a Grade I listed building which is included in the book “England‘s Thousand Best Churches”.
The first written mention of a church on the site is found in a charter of 1147 in which Eustace fitz John endowed the newly founded Alnwick Abbey with various gifts including the Chapel of Alnwick. Very few remnants of this Norman chapel are visible in the present day church, some surviving stones with a diaper pattern are built into the chancel. The 1863 restoration revealed some buried basements of pillars in the late Norman style of architecture which existed in the first half of the 12th century. Old foundations were also exposed by the 1863 restoration which confirmed that the Norman chapel had a long, narrow nave and a small apse. The church suffered severe damage from Scottish raids during the first half of the 14th century during the Wars of Scottish Independence. The second half of the century saw repair work undertaken which saw the present nave built and the addition of the north aisle as well as the construction of the north wall all in the Decorated style
The 15th century saw the majority of the present day church built, evidence suggest that the old church was in a ruinous state by this time. Towards the end of the 14th century the Decorated style of architecture was replaced by the Perpendicular style and it is in this design that most of the new church was built. Financial aid for the rebuild came directly from the monarch King Henry VI who issued a charter in 1464 granting the Burgesses of Alnwick a port at Alnmouth with tolls on exports from it, plus a fair and market at Alnwick that besides doing other work they might “make and repair their church”. The substantial money brought in from this Royal grant enabled the Burgesses of Alnwick to turn St Michael’s into one of the finest examples of the Perpendicular style of architecture in the north. The highlight of the 15th century work was the impressive and spacious chancel with its octagonal pillars which are elaborately sculptured.
There were no further changes to the church until the latter years of the 18th century when Hugh Percy, 1st Duke of Northumberland after renovating Alnwick Castle, repaired the chancel using his own architect Vincent Shepherd (1750-1812) assisted by Italian craftsmen. The work included a new window in the middle of the east end, a fan vaulted plaster ceiling and oak stalls for the Duke and his family. A revival in church attendance in the early part of the 19th century led to a statement in 1811 by the church councillors that accommodation was insufficient. As a result of this, a sum of £2,000 was spent in 1818 increasing the capacity to 1,200, this was achieved by removing the small galleries and adding a large one at the west end. Funds for this project came from a large donation from Hugh Percy, 3rd Duke of Northumberland, other money was raised through the church rates and the sale of seats.
When Algernon Percy, 4th Duke of Northumberland was restoring Alnwick Castle between 1854 and 1865 he agreed to finance the restoration of St Michael’s. The restoration started in 1863 and was overseen by Anthony Salvin who was also directing the work on the castle. Salvin swept away many of the mistakes of the two previous restorations, removing the plaster ceilings and the gallery. He strengthened some areas of the church and reinstated four pillars and the pointed arches to the nave which had been removed in the 1818 renewal, he also replaced some of the Decorated windows with ones in the Perpendicular style. The chancel aisle was filled with oak pews donated by the Duke.
One of the most eye catching exterior items is at the south east corner where there is an unusual lookout turret which was used to warn of raiders during the border conflicts. The turret was used in conjunction with Heiferlaw Peel tower, four miles to the north, which had a wide view of the borders and gave an early warning of any attack. The turret was again utilised in the early part of the 19th century when a landing by Napoleon’s army was feared and a series of beacons were set up around the country. The main tower stands at the west end of the church on foundations which go 30 to 40 feet below the surface, it is squat looking with battlements.
The interior features two statues which were dug up from the foundations during the 1818 restoration, they were minus the heads and have modern replacements. One is of Henry VI and the other one is either Saint Sebastian or Maurice, a local saint martyred by the Danes. There are several Medieval grave slabs built into the wall, the oldest of these dates from the 13th century. Below the west window is the modern font made from Kilkenny blue-black limestone by David Edwick of Hexham, it was a gift for the new millennium. A small window to the right of the west window has fragments of medieval glass from the 14th century within it. The rest of the stained glass comes from the 19th century and contains what is described by Nikolaus Pevsner as “an uncommonly complete and enlightening survey of 19th century glass”; it includes work by well-known makers Clayton and Bell, Lavers and Barraud, James Powell and Sons and Ward and Hughes. The east end of the church features St Catherine’s Chapel and the altar. The chapel has an interesting pillar featuring the Percy and de Vesci arms and a carving of St Catherine and the wheel on which she was martyred, it is called the Hotspur Capital and remembers Harry Hotspur, the famous warrior and son of the First Earl.
Marazion is a civil parish and town in Cornwall, England, United Kingdom. It is situated on the shore of Mount's Bay, two miles (3 km) east of Penzance and one mile (1.6 km) east of Long Rock.
St Michael's Mount is half-a-mile offshore from Marazion. At low water a causeway links it to the town and at high water passenger boats carry visitors between Marazion and St Michael's Mount.
Marazion lies within the Cornwall Area of Outstanding Natural Beauty (AONB). Almost a third of Cornwall has AONB designation, with the same status and protection as a National Park.
Marazion is a thriving tourist resort with an active community of artists who produce and sell paintings and pottery in the town's numerous art galleries.
-Wikipedia.
Michael's Arts and Crafts Store Credit Card Reader Swipe Device. Pics by Mike Mozart of TheToyChannel and JeepersMedia on YouTube
Sometimes, when you enter a church, it has been so heavily restored, it is almost impossible to tell whether the church is ancient or not, so total has the restoration been.
And that was the case with St Michael's, an impressive building, one with structural issues as the southern wall of the nave is leaning at an alarming angle, but seems stable enough.
Most of the stained glass windows are suffering from rather dramatic sun damage and fading, to the extent they look very poor indeed.
But as ever, the welcome we received was warm, and we were told the history of the church as we walked around.
---------------------------------------------------------------
St Michael’s Church is an Anglican place of worship situated on Bailiffgate in the town of Alnwick in Northumberland, England. The current building dates from the 15th century but a 12th century Norman chapel stood on the site prior to this, reports of an earlier 8th century Saxon chapel are unconfirmed. The church is dedicated to St Michael the Archangel, in earlier times it was also dedicated to St Mary as well. It is a Grade I listed building which is included in the book “England‘s Thousand Best Churches”.
The first written mention of a church on the site is found in a charter of 1147 in which Eustace fitz John endowed the newly founded Alnwick Abbey with various gifts including the Chapel of Alnwick. Very few remnants of this Norman chapel are visible in the present day church, some surviving stones with a diaper pattern are built into the chancel. The 1863 restoration revealed some buried basements of pillars in the late Norman style of architecture which existed in the first half of the 12th century. Old foundations were also exposed by the 1863 restoration which confirmed that the Norman chapel had a long, narrow nave and a small apse. The church suffered severe damage from Scottish raids during the first half of the 14th century during the Wars of Scottish Independence. The second half of the century saw repair work undertaken which saw the present nave built and the addition of the north aisle as well as the construction of the north wall all in the Decorated style
The 15th century saw the majority of the present day church built, evidence suggest that the old church was in a ruinous state by this time. Towards the end of the 14th century the Decorated style of architecture was replaced by the Perpendicular style and it is in this design that most of the new church was built. Financial aid for the rebuild came directly from the monarch King Henry VI who issued a charter in 1464 granting the Burgesses of Alnwick a port at Alnmouth with tolls on exports from it, plus a fair and market at Alnwick that besides doing other work they might “make and repair their church”. The substantial money brought in from this Royal grant enabled the Burgesses of Alnwick to turn St Michael’s into one of the finest examples of the Perpendicular style of architecture in the north. The highlight of the 15th century work was the impressive and spacious chancel with its octagonal pillars which are elaborately sculptured.
There were no further changes to the church until the latter years of the 18th century when Hugh Percy, 1st Duke of Northumberland after renovating Alnwick Castle, repaired the chancel using his own architect Vincent Shepherd (1750-1812) assisted by Italian craftsmen. The work included a new window in the middle of the east end, a fan vaulted plaster ceiling and oak stalls for the Duke and his family. A revival in church attendance in the early part of the 19th century led to a statement in 1811 by the church councillors that accommodation was insufficient. As a result of this, a sum of £2,000 was spent in 1818 increasing the capacity to 1,200, this was achieved by removing the small galleries and adding a large one at the west end. Funds for this project came from a large donation from Hugh Percy, 3rd Duke of Northumberland, other money was raised through the church rates and the sale of seats.
When Algernon Percy, 4th Duke of Northumberland was restoring Alnwick Castle between 1854 and 1865 he agreed to finance the restoration of St Michael’s. The restoration started in 1863 and was overseen by Anthony Salvin who was also directing the work on the castle. Salvin swept away many of the mistakes of the two previous restorations, removing the plaster ceilings and the gallery. He strengthened some areas of the church and reinstated four pillars and the pointed arches to the nave which had been removed in the 1818 renewal, he also replaced some of the Decorated windows with ones in the Perpendicular style. The chancel aisle was filled with oak pews donated by the Duke.
One of the most eye catching exterior items is at the south east corner where there is an unusual lookout turret which was used to warn of raiders during the border conflicts. The turret was used in conjunction with Heiferlaw Peel tower, four miles to the north, which had a wide view of the borders and gave an early warning of any attack. The turret was again utilised in the early part of the 19th century when a landing by Napoleon’s army was feared and a series of beacons were set up around the country. The main tower stands at the west end of the church on foundations which go 30 to 40 feet below the surface, it is squat looking with battlements.
The interior features two statues which were dug up from the foundations during the 1818 restoration, they were minus the heads and have modern replacements. One is of Henry VI and the other one is either Saint Sebastian or Maurice, a local saint martyred by the Danes. There are several Medieval grave slabs built into the wall, the oldest of these dates from the 13th century. Below the west window is the modern font made from Kilkenny blue-black limestone by David Edwick of Hexham, it was a gift for the new millennium. A small window to the right of the west window has fragments of medieval glass from the 14th century within it. The rest of the stained glass comes from the 19th century and contains what is described by Nikolaus Pevsner as “an uncommonly complete and enlightening survey of 19th century glass”; it includes work by well-known makers Clayton and Bell, Lavers and Barraud, James Powell and Sons and Ward and Hughes. The east end of the church features St Catherine’s Chapel and the altar. The chapel has an interesting pillar featuring the Percy and de Vesci arms and a carving of St Catherine and the wheel on which she was martyred, it is called the Hotspur Capital and remembers Harry Hotspur, the famous warrior and son of the First Earl.
Hurricane Michael's aftermath in Panama City, Florida almost four months after the DISASTER and no matter what direction you look you will see destruction or signs of destruction. Most homes still have the Blue tarps on them. The streets are clear and everyone is working to make things better.
Copyright © ShoreShot Photography 2019
Rune Story Guide – Michael’s Quest Guide
Michael’s Quest (until Jan 15, 3:59PM PST) started! Let’s Play and get tree dwelling of spiritsouse and his statue!
Easy
Mission
Cleared by the party of Mage only
Open all treasure chests
Cleared without falling even one person...
jp-apps-dl.net/2016/01/10/rune-story-guide-michaels-quest...
This is the churchyard of St Michael's Church, Baddesley Clinton, along with the grave stones of those burried there, including members of the Ferrers family.
This is St Michael's Church, Baddesley Clinton.
The Church of St Michael is a Grade II* listed building.
Church. C13 origins; nave raised and clerestory windows inserted late C15; late
C15 tower; chancel rebuilt and extended 1634. Random coursed stone rubble to
lower part of nave; stone ashlar to chancel, tower, and upper part of nave; old
plain-tile roofs to nave and chancel; tower roof not visible. 3-bay nave, 3-bay
chancel and west tower. 2-centre arched doorway with hood mould and C19
door to centre of nave. 2-light stone mullion window to right of nave. Three
3-light stone mullion windows with cusped lights to clerestory. Tudor-arched
doorway with C19 plank door to left of centre of chancel. 3-light stone mullion
windows to left and right of centre. 5-light Rectilinear tracery window to east
end of chancel. North side: 2-centre arched doorway with hood mould and ribbed
door to centre of nave. Y-tracery window to left of nave. 2-light stone mullion
window with cusped lights to right of nave. Three 3-light stone mullion windows
with cusped lights to clerestory. Tower: 4-centre arched doorway to west side
with plain spandrels and hood mould. 3-light Rectilinear tracery window with
hood mould above doorway. 2-light Rectilinear tracery louvred openings to each
side of top stage of tower. String course to base of tower parapet has carved
water-spouts. Battlemented parapet. Interior: chancel; 3-bay barrel-vaulted roof
with moulded wood ribs. Altar tomb to right to Sir Edward Ferrers (1465-1535)
and his wife Constance, in Tudor-arched recess, having quatrefoil spandrels.
3 panels to tomb with elaborate tracery and armorial bearings. C19 choir stalls.
2-centred chancel arch with chancel screen, dated 1634, having wood panelled
base and strapwork slats above. Nave: 3-bay Perpendicular roof. C19 pulpit, font
and pews. 2-centred arch on octagonal half-columns to tower. East window is C16
in origins but much is probably now mid-C18 restoration. History: Nicholas
Brome, who was responsible for the late C15 work on the church, was lord of the
manor, and carried out the work in expiation of his murder of the priest, whom
he found "chucking his wife under the chin". The church contains a Sarah Green
single manual chamber organ.
(Buildings of England: Warwickshire: 1966, pp80-81; C.J. Baddeley: The Church of
Saint Michael, Baddesley Clinton (guide book) 1970)
[ 54]
St Michael's Church, Baddesley Clinton - Heritage Gateway
Without flash, looks too dark.
Chirbury is a village and former civil parish, now in the parish of Chirbury with Brompton, in the Shropshire district, in west Shropshire, England. It is situated in the Vale of Montgomery, close to the Wales–England border (1.1 miles (1.8 km) at its nearest), which is to its north, west and south. The A490 and B4386 routes cross at Chirbury.
It is the largest settlement in the Chirbury with Brompton civil parish, which according to the 2001 census had a population of 914, with the resident population of Chirbury at 348. The population of the civil parish had increased to 971 at the 2011 census.
The placename was recorded in 915 as Ċyriċbyrig in the Anglo-Saxon Chronicle, and as Ċireberie in the Domesday Book of 1086, and means "the fort with a church". Its Welsh name, Llanffynhonwen, means "the church of the white well" or "...of the holy well". Some French linguists have theorised that the name of Chirbury shares a common etymology with the city of Cherbourg (Chiersburg, Chierisburch around 1070, Chirburg 1377, Chirburgh 14th century).
The 8th-century Offa's Dyke runs to the west of the village and marked the frontier of the Mercian kingdom. Even today, a lengthy section of the dyke to the southwest of the village forms the English border with Wales. An Anglo-Saxon fort, built in 915 by Æthelflæd, Lady of the Mercians, was located just outside the village on what is now the Montgomery Road. The field that the earthworks are in has long been called Castle Field or King's Orchard.
Chirbury was once a hundred, formed out of an earlier, and larger, hundred (of which Chirbury was the chief settlement) called Witentreu or Wittery (a placename that continues to this day in Whittery Wood, near to the village) which included places now in Wales. Later Chirbury was a rural district (from 1894 to 1934) — the Chirbury Rural District. The hundred included a detached township near Clun, Guilden Down. On 1 April 1987 the parishes of Chirbury and Brompton and Rhiston merged to form the present-day civil parish of "Chirbury with Brompton". Historically Cherbury was the more usual spelling of Chirbury.
Mitchell's Fold and Hoarstones stone circles lie within the parish.
St Michael's Church, as pictured in the infobox above, is the only church in Chirbury, and is dedicated to Saint Michael the Archangel. It is Church of England (Diocese of Hereford) and the Chirbury ecclesiastical parish covers a smaller area than the civil parish, including Wotherton, but not Brompton, Marton or Middleton.
Originally an Anglo-Saxon church, founded in 915 (with the building of the fort) or possibly earlier, the current building largely dates to the late 12th century with the tower constructed around 1300, and a short chancel added in 1733. The church was restored in 1871–72 by Edward Haycock junior. The tower and body of the church are constructed in limestone rubble with pink sandstone ashlar dressings and slate roofs; the chancel is in red brick with a tiled roof. The church was reformed into the priory church of the Augustinian Chirbury Priory upon the moving of the order from nearby Snead by 1227. With the dissolution of the priory in 1535 St Michael's became a parish church once again. The church building is a Grade I Listed building. Remnants of the former priory can be seen in the churchyard[16] and some stonework was also incorporated into the adjacent Chirbury Hall.
The centre of Chirbury is a conservation area, which includes Chirbury Hall, St Michael's Church, The Herbert Arms, Chirbury Primary School and the Parish Hall. Most of the village's buildings are either of a red brick or limestone construction, or a combination.
In the village is a village hall (the Parish Hall), a large public house called The Herbert Arms, and a post office, open Monday to Friday, which is also the village shop.
The Herbert Arms is named for the Barons Herbert of Chirbury and historically was a coaching inn, sometimes called the Herbert Arms Hotel (though it no longer is a hotel). Built in the 18th century in red brick (painted white) it was originally called The Cross, and is Grade II Listed.
The village has a primary school (see Education) and a nursery school ('Busy Bees'). There is a bowls club with its own bowling green in the village.
The village is situated 2+1⁄2 miles (4.0 km) east of Montgomery and 8+1⁄2 miles (13.7 km) northwest of Bishop's Castle, with Shrewsbury, the county town, 18 miles (29 km) away to the northeast.
The civil parish of Chirbury with Brompton covers 5,311 hectares (13,120 acres) and includes a number of other (smaller) settlements, including:
Brompton
Marton
Middleton
Pentreheyling
Priestweston
Rorrington
Stockton
Wotherton.
It is not possible to reach Brompton or Pentreheyling by a public road without passing through Wales; they are however not true exclaves and can be reached (without going through Wales) by public footpaths.
The eastern part of the parish falls within the Shropshire Hills AONB.
Through the parish flows the River Camlad, which flows first to the east and then to the north of the village, on its way from Church Stoke (in the south) to its confluence with the River Severn (in the northwest).
The centre of the village is at an elevation of 109 metres (358 ft). The highest point in the parish is Stapeley Hill, which rises to 403 metres (1,322 ft), whilst the lowest point is where the Camlad exits the parish, at 80 metres (260 ft).
Agriculture in the vicinity is mainly arable nearer the village, with pasture further away in the more upland terrain. There are a number of tall grain silos in the area.
Roads and lanes from six directions converge on the village, with the A490 (Churchstoke – Welshpool road) and the B4386 (Shrewsbury – Montgomery road) combining as they pass through the centre of the village. One of the lanes leads to Priestweston and Middleton, the other lane to Rhiston.
The nearest train station to Chirbury is Welshpool, which is 7 miles (11 km) away. From Welshpool, trains run both west to Aberystwyth and the Cambrian Coast, and east to Shrewsbury and the West Midlands. The Bishops Castle Railway originally was planned to run through the parish, as a Craven Arms to Montgomery railway, but was only constructed as far as Lydham.
Buses run (Monday to Saturday) between Shrewsbury and Montgomery (service 558), and between Welshpool and Newtown via Montgomery (service 81), with both services calling at Chirbury.
Welshpool Airport is 4+1⁄2 miles (7.2 km) northwest of Chirbury on the A490.
National Cycle Route 44 passes through the parish, though not Chirbury itself.
Chirbury C. of E. Primary School was founded in 1675 by Reverend Edward Lewis and is a primary school with around 70 pupils. On the dissolution of Chirbury Priory, the school building was signed over by King Henry VIII and this original building is currently managed by the Edward Lewis Trust. The school is now administrated jointly with another rural primary school at Stiperstones.[27] In June 2006, the school was awarded the "Green" Travel Plan Award and currently holds status as an eco-school at Bronze level working towards their Silver.
After leaving Chirbury Primary School, pupils transfer into a Shropshire secondary school, with most continuing to Bishop's Castle Community College.
Notable people
Ludovic Lloyd (fl 1573–1610), poet and courtier, son of manor lord of Marrington, Chirbury.
Sir Edward Herbert, poet, philosopher, diplomat and soldier, was created Baron Herbert of Cherbury after the village in 1629.
Thomas Bray, founder of Society for the Propagation of Christian Knowledge, born at Marton then in Chirbury parish, and has memorial plaque erected in 1901 in Chirbury church, where he was baptised on 2 May 1658.
Major-General Llewelyn Alberic Emilius Price-Davies, Boer War Victoria Cross recipient, was born member of family seated at Marrington Hall, Chirbury, 1878.
Bert Trentham, professional footballer notably for West Bromwich Albion, born at Chirbury 1908 and schooled there.
John Brunt, World War II Victoria Cross recipient, born at Priest Weston in the Chirbury parish 1922, began schooling in Chirbury.
George Herbert, 7th Earl of Powis, peer, lived at Marrington Hall before succeeding to the family Earldom.
In 1961 the parish of Chirbury had a population of 818. At the time of the 2001 census, Chirbury with Brompton had a population of 914, of which 467 were male and 447 female. Chirbury with Brompton contained a total of 348 households at this census.
The population density of Chirbury with Brompton at the 2001 census was recorded at 0.17 people per hectare. This is considerably below the Shropshire Council area average of 0.89 per hectare and dramatically below the English average of 3.77 per hectare.
The parish council of Chirbury with Brompton has 13 councillors. The civil parish is subdivided into four parish wards, based on the ecclesiastical parishes, and each returning a set number of councillors: Brompton and Rhiston (2), Chirbury (5), Marton (3), and Middleton (3). The latter three wards are the same as in the former civil parish of Chirbury, whilst Brompton and Rhiston ward is the former civil parish of that name. The two parishes merged in 1987.
Shropshire historically Salop and abbreviated Shrops) is a ceremonial county in the West Midlands of England, on the Welsh border. It is bordered by Wrexham County Borough and Cheshire to the north, Staffordshire to the east, Worcestershire to the south-east, Herefordshire to the south and Powys to the west. The largest settlement is Telford, and Shrewsbury is the county town.
The county has an area of 3,487 km2 (1,346 square miles) and a population of 498,073. Telford (155,570), in the east of the county, and Shrewsbury (76,782), in the centre, are the only large towns. Shropshire is otherwise rural, containing market towns such as Oswestry (15,613), Bridgnorth (12,212) and Newport (11,387). For local government purposes the county comprises two unitary authority areas: Shropshire, and Telford and Wrekin.
The Shropshire Hills AONB covers about a quarter of the county, including the Wrekin, Clee Hills, Stiperstones, the Long Mynd, and Wenlock Edge. Part of the Fenn's, Whixall and Bettisfield Mosses National Nature Reserve, which extends into Wales, occupies the low-lying north west of the county. The county's major river is the Severn, which enters from the west and forms a wide, flat valley before exiting into Worcestershire south of Bridgnorth. The village of Edgmond, near Newport, is the location of the lowest recorded temperature in England and Wales.
There is evidence of Neolithic and Bronze Age human occupation in Shropshire, including the Shropshire bulla pendant. The hillfort at Old Oswestry dates from the Iron Age, and the remains of the city of Viroconium Cornoviorum date from the Roman period. During the Anglo-Saxon era the area was part of Mercia. During the High Middle Ages the county was part of the Welsh Marches, the border region between Wales and England; from 1472 to 1689 Ludlow was the seat of the Council of Wales and the Marches, which administered justice in Wales and Herefordshire, Shropshire, Worcestershire and Gloucestershire. During the English Civil War Shropshire was Royalist, and Charles II fled through the county—famously hiding in an oak tree—after his final defeat at the Battle of Worcester. The area around Coalbrookdale is regarded as one of the birthplaces of the Industrial Revolution and has been designated a UNESCO World Heritage Site.
Shropshire was established during the division of Saxon Mercia into shires in the 10th century. It is first mentioned in 1006. After the Norman Conquest it experienced significant development, following the granting of the principal estates of the county to eminent Normans, such as Roger De Montgomery and his son Robert de Bellême.
The Coalbrookdale area of the county is designated "the birthplace of the Industrial Revolution", due to significant technological developments that happened there.
The origin of the name "Shropshire" is the Old English "Scrobbesbyrigscīr" (literally Shrewsburyshire), perhaps taking its name from Richard Scrob (or FitzScrob or Scrope), the builder of Richard's Castle near what is now the town of Ludlow. However, the Normans who ruled England after 1066 found both "Scrobbesbyrig" and "Scrobbesbyrigscir" difficult to pronounce so they softened them to "Salopesberia" and "Salopescira". Salop is the abbreviation of these.
When a council for the county was set up in 1888, it was called "Salop County Council". The name was never popular, with Ludlow MP Sir Jasper More raising an amendment to the 1972 Local Government Bill to rename the county "Shropshire"[1] – at the time the council itself opposed the change, although later, in 1980, would exercise its power to legally change the name of the county.
The Times noted in a 19 February 1980 article about the name change that "there was no record of why the name Salop County Council was adopted". The decision to make the change was taken on 1 March 1980, at a special meeting of the council, with 48 votes in favour versus five against. It came into effect on 1 April.
Another reason why Salop was unfavourable was the fact that if you add the letter 'E' and make it Salope, this is a French word which means 'Bitch' or 'Loose Woman'.[citation needed]
The term "Salopian", derived from "Salop", is still used to mean "from Shropshire". Salop can also mean the county town, Shrewsbury, and in historical records Shropshire is described as "the county of Salop" and Shrewsbury as "the town of Salop". There is a reference in the Encyclopædia Britannica (1948) to Shropshire being called Sloppesbury, and this name being shortened to Salop.[citation needed]
The Latin motto of Floreat Salopia (may Shropshire flourish) was originally used by the borough of Shrewsbury, and was adopted in 1896 by Salop (or Shropshire) County Council when they received a grant of a coat of arms. The motto is now used in a number of other emblems associated with the county.
The border with Wales was defined in the first half of the 16th century – the hundreds of Oswestry (including Oswestry) and Pimhill (including Wem), and part of Chirbury had prior to the Laws in Wales Act formed various Lordships in the Welsh Marches. Clun hundred went briefly to Montgomeryshire at its creation in 1536, but was returned to Shropshire in 1546.
The present day ceremonial county boundary is almost the same as the historic county's. Notably there has been the removal of several exclaves and enclaves. The largest of the exclaves was Halesowen, which became part of Worcestershire in 1844 (now part of the West Midlands county), and the largest of the enclaves was Herefordshire's Farlow in south Shropshire, also transferred in 1844, to Shropshire. Alterations have been made on Shropshire's border with all neighbouring English counties over the centuries. Gains have been made to the south of Ludlow (the parish of Ludford from Herefordshire), to the north of Shifnal (part of Sheriffhales parish from Staffordshire) and to the north (the hamlet of Tittenley from Cheshire) and south (from Staffordshire) of Market Drayton. The county has lost minor tracts of land in a few places, notably north of Tenbury Wells to Worcestershire, and near Leintwardine to Herefordshire.
The entire area of modern Shropshire was included within the territory of the Celtic Cornovii tribe, whose capital was the Wrekin hill fort.
After Roman military expansion into the area in 47 AD, the tribal territory was reorganised as a Roman Civitas and the capital was relocated to Viroconium.
Following the collapse of the Romano-British administration, the Cornovii territory may have become part of the Kingdom of Powys, but its status is obscure. Twelfth century Welsh historian Giraldus Cambrensis associated Pengwern with Shrewsbury, but its location is uncertain.
The northern part of Shropshire was part of the territory of the Wreocensæte. The southern part probably belonged to the Magonsaete. Both were absorbed by the Saxon Kingdom of Mercia by King Offa. In 765 he constructed Watt's Dyke to defend his territory against the Welsh, and in 779, having pushed across the River Severn, drove the Welsh King of Powys from Shrewsbury, he secured his conquests by a second defensive earthwork known as Offa's Dyke. (This enters Shropshire at Knighton, traverses moor and mountain by Llanymynech and Oswestry, in many places forming the boundary line of the county, and finally leaves it at Bronygarth and enters Denbighshire.)
In the 9th and 10th centuries the district was frequently overrun by the Danes, who in 874 destroyed the famous priory of Wenlock, said to have been founded by St Milburga, granddaughter of King Penda of Mercia, and in 896 wintered at Quatford. In 912 Ethelfleda, the Lady of Mercia, erected a fortress at Bridgnorth against the Danish invaders, and in the following year she erected another at Chirbury.
Mercia was mapped out into shires in the 10th century after its recovery from the Danes by Edward the Elder. The first mention of "Shropshire" in the Anglo-Saxon Chronicle occurs under 1006, when the King crossed the Thames and wintered there. In 1016 Edmund Ætheling plundered Shrewsbury and the neighbourhood.
In 963 AD two towns are described in east Shropshire. These have now been identified as Newport, Plesc was described as having a High street, a stone quarry and a religious community. The name Plesc means fortified place or one with palisade, denoting it was of some importance.[citation needed]
Thirteen years before the Norman Conquest, the Anglo-Saxon Chronicle relates that in 1053 the Welshmen slew a great many of the English wardens at Westbury, and in that year Harold ordered that any Welshman found beyond Offa's Dyke within the English pale should have his right hand cut off.
Earl Godwin, Sweyn, Harold, Queen Edith, Edward the Confessor and Edwin and Morcar are all mentioned in the Domesday Survey as having held lands in the county shortly before or during the Norman Conquest.
After the Norman Conquest of 1066 the principal estates in Shropshire were all bestowed on Norman proprietors, pre-eminent among whom is Roger de Montgomerie, 1st Earl of Shrewsbury, whose son Robert de Bellesme forfeited his possessions for rebelling against Henry I, when the latter bestowed the Earldom on his Queen Matilda for life.
The principal landholders at the time of the Domesday Survey were the Bishop of Chester, the Bishop of Hereford, the church of St Remigius, Earl Roger, Osbern Fitz-Richard, Ralph de Mortimer, Roger de Laci, Hugh Lasne and Nicholas Medicus. Earl Roger had the whole profits of Condover hundred and also owned Alnodestreu hundred. The family of Fitz-Alan, ancestors of the royal family of Stuart, had supreme jurisdiction in Oswestry hundred, which was exempt from English law.
Richard Fitz-Scrob, father of Osbern Fitz-Richard and founder of Richard's Castle, was lord of the hundred of Overs at the time of the Conquest. Gatacre was the seat of the Gatacres. The barony of Pulverbatch passed from the Pulverbatches, and was purchased in 1193 by John de Kilpeck for £100. The Lands of Wrentnall (Ernui and Chetel before the conquest) and Great Lyth were amalgamated under The Barony of Pulverbatch (devolved over the centuries to Condover, held by various families and now, Wrentnall and Great Lyth Manorial rights belong to the present Lord of the Manors of Wrentnall and Great Lyth, also the Baron of Pulverbatch). {Farrow, M. MA Cantab, 7 April 2003, Barony of Pulverbatch, Lordships of Great Lyth and Wrentnall}. The family of Cornwall were barons of Burford and of Harley for many centuries. The family of Le Strange owned large estates in Shropshire after the Conquest, and Fulk Lestrange claimed the right of holding pleas of the crown in Wrockworthyn in 1292.
Among others claiming rights of jurisdiction in their Shropshire estates in the same year were Edmund de Mortimer, the abbot of Combermere, the prior of Llanthony, the prior of Great Malvern, the Bishop of Lichfield, Peter Corbett, Nicholas of Audley, the abbot of Lilleshall, John of Mortayn, Richard Fitz-Alan, the bishop of Hereford and the prior of Wenlock.
The constant necessity of defending their territories against the Welsh prompted the Norman lords of Shropshire to such activity in castle-building that out of 186 castles in England no less than 32 are in this county. Shropshire became a key area within the Welsh Marches. Of the castles built in this period the most famous are Ludlow, founded by Walter de Lacy; Bishop's Castle, which belonged to the Bishops of Hereford; Clun Castle, built by the FitzAlans; Cleobury Castle, built by Hugh de Mortimer; Caus Castle, once the Barony of Sir Peter Corbet, from whom it came to the Barons Strafford; Rowton Castle, also a seat of the Corbets; Red Castle, a seat of the Audleys. Other castles were Bridgnorth, Corfham, Holdgate, Newport, Pulverbatch, Quatford, Shrewsbury and Wem.
At this period a very large portion of Shropshire was covered by forests, the largest of which, Morfe Forest, at its origin extended at least 8 miles in length and 6 miles in width, and became a favorite hunting-ground of the English Kings. The forest of Wrekin, or 'Mount Gilbert' as it was then called, covered the whole of that hill and extended eastward as far as Sheriffhales. Other forests were Stiperstones, the jurisdiction of which was from time immemorial annexed to the Barony of Caus, Wyre, Shirlot, Clee, Long Forest and Brewood.
The early political history of Shropshire is largely concerned with the constant incursions and depredations of the Welsh from across the border. Various statutory measures to keep the Welsh in check were enforced in the 14th and 15th centuries.
In 1379 Welshmen were forbidden to purchase land in the county save on certain conditions, and this enactment was reinforced in 1400. In 1379 the men of Shropshire forwarded to parliament a complaint of the felonies committed by the men of Cheshire and of the Welsh marches, and declared the gaol of Shrewsbury Castle to be in such a ruinous condition that they had no place of imprisonment for the offenders when captured. In 1442 and again as late as 1535 acts were passed for the protection of Shropshire against the Welsh.
Apart from the border warfare in which they were constantly engaged, the great Shropshire lords were actively concerned in the more national struggles. Shrewsbury Castle was garrisoned for the empress Maud by William Fitz-Alan in 1138, but was captured by King Stephen in the same year. Holgate Castle was taken by King John from Thomas Mauduit, one of the rebellious barons.
Ludlow and Shrewsbury were both held for a time by Simon de Montfort. At Acton Burnell in 1283 was held the parliament which passed the famous Statute of Acton Burnell, and a parliament was summoned to meet at Shrewsbury in 1398.
During the Percy rebellion Shrewsbury was in 1403 the site of a battle between the Lancastrian Henry IV, and Henry Percy ('Harry Hotspur') of Northumberland. The Battle of Shrewsbury was fought on 21 July 1403, at what is now Battlefield, just to the north of present-day Shrewsbury town. The battle resulted in the death of Henry Percy, and a victory to King Henry IV, who established a chapel at the site to commemorate the fallen.
Among the Norman religious foundations were:
the Cluniac priory of Wenlock, at Much Wenlock, re-established on the Saxon foundation by Roger Montgomery in 1080
the Augustinian Haughmond Abbey founded by William Fitz-Alan
the Cistercian Buildwas Abbey, now a magnificent ruin, founded in 1135 by Roger de Clinton, Bishop of Chester
the Benedictine Shrewsbury Abbey, founded in 1083 by Roger de Montgomerie
the Augustinian Lilleshall Abbey, founded in the reign of Stephen
the Augustinian Wombridge Priory, founded before the reign of King Henry I
the Benedictine priory of Alberbury founded by Fulk FitzWarin in the 13th century
and the Augustinian Chirbury Priory founded in the 13th century.
Hundreds in England had various judicial, fiscal and other local government functions, their importance gradually declining from the end of manorialism to the latter part of the 19th century.
The fifteen Shropshire hundreds mentioned in the Domesday Survey were entirely rearranged in the 12th century, particularly during the 1100-1135 reign of King Henry I, and only Overs, Shrewsbury and Condover retained their original names.
The Domesday hundred of Reweset was replaced by Ford, and the hundred court transferred from Alberbury to Ford. Hodnet was the meeting-place of the Domesday hundred of Hodnet, which was combined with Wrockwardine hundred, the largest of the Domesday hundreds, to form the very large hundred of Bradford, the latter also including part of the Domesday hundred of Pinholle in Staffordshire. The hundred of Baschurch had its meeting-place at Baschurch in the time of Edward the Confessor; in the reign of Henry I it was represented mainly by the hundred of Pimhill, the meeting-place of which was at Pimhill. Oswestry came to represent the Domesday hundred of Merset, the hundred court of which was transferred from Maesbury to Oswestry. The Domesday hundred of Alnodestreu, abolished in the reign of King Henry I, had its meeting-place at Membrefeld (Morville). It was effectively succeeded by Brimstree.
The Domesday-era hundreds of Culvestan and Patton, which following the Norman conquest shared their caput at Corfham Castle, were amalgamated into a new hundred of Munslow in the reign of Henry I. Later, in the 1189-1199 reign of Richard I, a large portion was taken out of Munslow to form a new hundred-like liberty for the priory of Wenlock, which became known as the franchise (or liberty) of Wenlock, and further manors were added to this 'franchise' in the coming centuries. The hundred of Wittery effectively became Chirbury.
Leintwardine was divided amongst various hundreds, largely the new Herefordshire hundred of Wigmore and the new Shropshire hundred of Purslow (created also from Rinlau), with some manors going towards the new Munslow. The Domesday-era hundred of Conditre formed the basis for the large Stottesdon hundred, which took in manors from Overs and Alnodestreu, and resulted in Overs being divided into two detached parts. Stottesdon also brought across manors from the Staffordshire hundred of Seisdon. Clun hundred was formed upon the ending of the Marcher lordship there; it formed part of Montgomeryshire (and therefore Wales) in 1536, but was brought into Shropshire already in 1546.
Although never formally abolished, the hundreds of England have become obsolete. They lost their remaining administrative and judicial functions in the mid-to-late 19th century, with the last aspects removed from them in 1895 with the Local Government Act 1894.
Shropshire was administered by a high sheriff, at least from the time of the Norman Conquest, the first Norman sheriff being Warin the Bald, whose successor was Rainald, and in 1156 the office was held by William Fitzalan, whose account of the fee farm of the county is entered in the pipe roll for that year (see list at High Sheriff of Shropshire). The shire court was held at Shrewsbury. A considerable portion of Shropshire was included in the Welsh Marches, the court for the administration of which was held at Ludlow. In 1397 the castle of Oswestry with the hundred and eleven towns pertaining thereto, the castle of Isabel with the lordship pertaining thereto, and the castle of Dalaley, were annexed to the principality of Chester. By the statute of 1535 for the abolition of the Welsh Marches, the lordships of Oswestry, Whittington, Maesbrooke and Knockin were formed into the hundred of Oswestry; the lordship of Ellesmere was joined to the hundred of Pimhill; and the lordship of Down to the hundred of Chirbury.
The boundaries of Shropshire have otherwise varied little since the Domesday Book survey. Richard's Castle and Ludford, however were then included in the Herefordshire hundred of Cutestornes, while several manors now in Herefordshire were assessed under Shropshire. The Shropshire manors of Kings Nordley, Alveley, Claverley and Worfield were assessed in the Domesday hundred of Saisdon in Staffordshire; and Quatt, Romsley, Rudge and Shipley appear under the Warwickshire hundred of Stanlei.
Shropshire in the 13th century was situated almost entirely in the diocese of Hereford and diocese of Coventry and Lichfield; forming the archdeaconries of Shropshire and Salop. That portion of the county in the Hereford diocese, the archdeaconry of Shropshire, included the deaneries of Burford, Stottesdon, Ludlow, Pontesbury, Clun and Wenlock; and that portion in the Coventry and Lichfield diocese, the archdeaconry of Salop, the deaneries of Salop and Newport.
In 1535 the Hereford portion included the additional deanery of Bridgnorth; it now, since 1876, forms the archdeaconry of Ludlow, with the additional deaneries of Pontesbury, Bishops Castle, Condover, and Church Stretton. The archdeaconry of Salop, now entirely in the Lichfield diocese, includes the deaneries of Edgmond, Ellesmere, Hodnet, Shifnal, Shrewsbury, Wem, Whitchurch and Wrockwardine. Part of Shropshire was included in the Welsh diocese of St Asaph until the disestablishment of the Church in Wales (1920), comprising the deanery of Oswestry in the archdeaconry of Montgomery, and two parishes in the deanery of Llangollen and the archdeaconry of Wrexham. Certain parishes in Montgomeryshire, namely Churchstoke, Hyssington, Leighton and Trelystan, chose to remain in the Church of England
On the outbreak of the Civil War of the 17th century the Shropshire gentry for the most part declared for the King, who visited Shrewsbury in 1642 and received valuable contributions in plate and money from the inhabitants. A mint and printing-press were set up at Shrewsbury, which became a refuge for the neighbouring royalist gentry. Wem, the first place to declare for Parliament, was garrisoned in 1643. Shrewsbury was forced to surrender in 1645, and the royalist strongholds of Ludlow and Bridgnorth were captured in 1646, the latter after a four weeks' siege, during which the governor burnt part of the town for defence against Parliamentary troops.
The earliest industries of Shropshire took their rise from its abundant natural resources; the rivers supplying valuable fisheries; the vast forest areas abundance of timber; while the mineral products of the county had been exploited from remote times. The Domesday Survey mentions salt-works at Ditton Priors, Caynham and Donnington. The lead mines of Shelve and Stiperstones were worked by the Romans, and in 1220 Robert Corbett conferred on Shrewsbury Abbey a tithe of his lead from the mine at Shelve.
In 1260 licence was granted to dig coal in the Clee Hills, and in 1291 the abbot of Wigmore received the profits of a coal mine at Caynham. Iron was dug in the Clee Hills and at Wombridge in the 16th century. Wenlock had a famous copper-mine in the reign of Richard II, and in the 16th century was noted for its limestone.
As the forest areas were gradually cleared and brought under cultivation, the county became more exclusively agricultural. In 1343 Shropshire wool was rated at a higher value than that of almost any other English county, and in the 13th and 14th centuries Buildwas monastery exported wool to the Italian markets. Shropshire had never been distinguished for any characteristic manufactures, but a prosperous clothing trade arose about Shrewsbury and Bridgnorth, and Oswestry was famous in the 16th century for its "Welsh cottons", cheap woolen cloth in which the nap was raised, or "cottoned" by carding.
Shropshire is the "geological capital" of the UK, as just about every rock type in Northern Europe is found within its borders, as are coal, lead, copper and iron ore deposits. In addition to this, the River Severn flows through the county and has been used for the transportation of goods and services for centuries. A result of this was that the Ironbridge Gorge became a focal point of new industrial energies in the 18th century. Coalbrookdale, a small area of the Gorge, has been claimed as the birthplace of the Industrial Revolution, because of Abraham Darby I's development of coke-smelting and ironfounding there in the early 18th century.
The towns of Broseley and Madeley were centres of innovation during the late 18th century. In Broseley, John Wilkinson pioneered precision engineering by providing cylinders for Boulton and Watt's improved steam engines, and by boring cannons with greater accuracy and range. He also constructed the first iron boat, launched in 1787. It was in nearby locations where key events of the Industrial Revolution took place. Coalbrookdale is where modern iron smelting techniques were developed, Ironbridge is where the world's first iron bridge was constructed in 1779, to link Broseley with Madeley and the Black Country, and Ditherington in Shrewsbury is where the world's first iron framed building was built, the Ditherington Flaxmill. Other places notable for early industry are Jackfield for tiles and Coalport for china.
Later, Broseley and Madeley became notable for their continuation of trade in the field of bricks and tiles, which became a staple to the booming building trade, and millions of Broseley clay pipes were exported across the British Empire.
Sometimes, when you enter a church, it has been so heavily restored, it is almost impossible to tell whether the church is ancient or not, so total has the restoration been.
And that was the case with St Michael's, an impressive building, one with structural issues as the southern wall of the nave is leaning at an alarming angle, but seems stable enough.
Most of the stained glass windows are suffering from rather dramatic sun damage and fading, to the extent they look very poor indeed.
But as ever, the welcome we received was warm, and we were told the history of the church as we walked around.
---------------------------------------------------------------
St Michael’s Church is an Anglican place of worship situated on Bailiffgate in the town of Alnwick in Northumberland, England. The current building dates from the 15th century but a 12th century Norman chapel stood on the site prior to this, reports of an earlier 8th century Saxon chapel are unconfirmed. The church is dedicated to St Michael the Archangel, in earlier times it was also dedicated to St Mary as well. It is a Grade I listed building which is included in the book “England‘s Thousand Best Churches”.
The first written mention of a church on the site is found in a charter of 1147 in which Eustace fitz John endowed the newly founded Alnwick Abbey with various gifts including the Chapel of Alnwick. Very few remnants of this Norman chapel are visible in the present day church, some surviving stones with a diaper pattern are built into the chancel. The 1863 restoration revealed some buried basements of pillars in the late Norman style of architecture which existed in the first half of the 12th century. Old foundations were also exposed by the 1863 restoration which confirmed that the Norman chapel had a long, narrow nave and a small apse. The church suffered severe damage from Scottish raids during the first half of the 14th century during the Wars of Scottish Independence. The second half of the century saw repair work undertaken which saw the present nave built and the addition of the north aisle as well as the construction of the north wall all in the Decorated style
The 15th century saw the majority of the present day church built, evidence suggest that the old church was in a ruinous state by this time. Towards the end of the 14th century the Decorated style of architecture was replaced by the Perpendicular style and it is in this design that most of the new church was built. Financial aid for the rebuild came directly from the monarch King Henry VI who issued a charter in 1464 granting the Burgesses of Alnwick a port at Alnmouth with tolls on exports from it, plus a fair and market at Alnwick that besides doing other work they might “make and repair their church”. The substantial money brought in from this Royal grant enabled the Burgesses of Alnwick to turn St Michael’s into one of the finest examples of the Perpendicular style of architecture in the north. The highlight of the 15th century work was the impressive and spacious chancel with its octagonal pillars which are elaborately sculptured.
There were no further changes to the church until the latter years of the 18th century when Hugh Percy, 1st Duke of Northumberland after renovating Alnwick Castle, repaired the chancel using his own architect Vincent Shepherd (1750-1812) assisted by Italian craftsmen. The work included a new window in the middle of the east end, a fan vaulted plaster ceiling and oak stalls for the Duke and his family. A revival in church attendance in the early part of the 19th century led to a statement in 1811 by the church councillors that accommodation was insufficient. As a result of this, a sum of £2,000 was spent in 1818 increasing the capacity to 1,200, this was achieved by removing the small galleries and adding a large one at the west end. Funds for this project came from a large donation from Hugh Percy, 3rd Duke of Northumberland, other money was raised through the church rates and the sale of seats.
When Algernon Percy, 4th Duke of Northumberland was restoring Alnwick Castle between 1854 and 1865 he agreed to finance the restoration of St Michael’s. The restoration started in 1863 and was overseen by Anthony Salvin who was also directing the work on the castle. Salvin swept away many of the mistakes of the two previous restorations, removing the plaster ceilings and the gallery. He strengthened some areas of the church and reinstated four pillars and the pointed arches to the nave which had been removed in the 1818 renewal, he also replaced some of the Decorated windows with ones in the Perpendicular style. The chancel aisle was filled with oak pews donated by the Duke.
One of the most eye catching exterior items is at the south east corner where there is an unusual lookout turret which was used to warn of raiders during the border conflicts. The turret was used in conjunction with Heiferlaw Peel tower, four miles to the north, which had a wide view of the borders and gave an early warning of any attack. The turret was again utilised in the early part of the 19th century when a landing by Napoleon’s army was feared and a series of beacons were set up around the country. The main tower stands at the west end of the church on foundations which go 30 to 40 feet below the surface, it is squat looking with battlements.
The interior features two statues which were dug up from the foundations during the 1818 restoration, they were minus the heads and have modern replacements. One is of Henry VI and the other one is either Saint Sebastian or Maurice, a local saint martyred by the Danes. There are several Medieval grave slabs built into the wall, the oldest of these dates from the 13th century. Below the west window is the modern font made from Kilkenny blue-black limestone by David Edwick of Hexham, it was a gift for the new millennium. A small window to the right of the west window has fragments of medieval glass from the 14th century within it. The rest of the stained glass comes from the 19th century and contains what is described by Nikolaus Pevsner as “an uncommonly complete and enlightening survey of 19th century glass”; it includes work by well-known makers Clayton and Bell, Lavers and Barraud, James Powell and Sons and Ward and Hughes. The east end of the church features St Catherine’s Chapel and the altar. The chapel has an interesting pillar featuring the Percy and de Vesci arms and a carving of St Catherine and the wheel on which she was martyred, it is called the Hotspur Capital and remembers Harry Hotspur, the famous warrior and son of the First Earl.
Hurricane Michael's aftermath in Panama City, Florida almost four months after the DISASTER and no matter what direction you look you will see destruction or signs of destruction. Most homes still have the Blue tarps on them. The streets are clear and everyone is working to make things better.
Copyright © ShoreShot Photography 2019
The final twelve images from St Michael's., all unedited, I just don't seem to have the time right now, but I think worth seeing, especially the faded glass seen in some of the Victorian windows.
Sometimes, when you enter a church, it has been so heavily restored, it is almost impossible to tell whether the church is ancient or not, so total has the restoration been.
And that was the case with St Michael's, an impressive building, one with structural issues as the southern wall of the nave is leaning at an alarming angle, but seems stable enough.
Most of the stained glass windows are suffering from rather dramatic sun damage and fading, to the extent they look very poor indeed.
But as ever, the welcome we received was warm, and we were told the history of the church as we walked around.
---------------------------------------------------------------
St Michael’s Church is an Anglican place of worship situated on Bailiffgate in the town of Alnwick in Northumberland, England. The current building dates from the 15th century but a 12th century Norman chapel stood on the site prior to this, reports of an earlier 8th century Saxon chapel are unconfirmed. The church is dedicated to St Michael the Archangel, in earlier times it was also dedicated to St Mary as well. It is a Grade I listed building which is included in the book “England‘s Thousand Best Churches”.
The first written mention of a church on the site is found in a charter of 1147 in which Eustace fitz John endowed the newly founded Alnwick Abbey with various gifts including the Chapel of Alnwick. Very few remnants of this Norman chapel are visible in the present day church, some surviving stones with a diaper pattern are built into the chancel. The 1863 restoration revealed some buried basements of pillars in the late Norman style of architecture which existed in the first half of the 12th century. Old foundations were also exposed by the 1863 restoration which confirmed that the Norman chapel had a long, narrow nave and a small apse. The church suffered severe damage from Scottish raids during the first half of the 14th century during the Wars of Scottish Independence. The second half of the century saw repair work undertaken which saw the present nave built and the addition of the north aisle as well as the construction of the north wall all in the Decorated style
The 15th century saw the majority of the present day church built, evidence suggest that the old church was in a ruinous state by this time. Towards the end of the 14th century the Decorated style of architecture was replaced by the Perpendicular style and it is in this design that most of the new church was built. Financial aid for the rebuild came directly from the monarch King Henry VI who issued a charter in 1464 granting the Burgesses of Alnwick a port at Alnmouth with tolls on exports from it, plus a fair and market at Alnwick that besides doing other work they might “make and repair their church”. The substantial money brought in from this Royal grant enabled the Burgesses of Alnwick to turn St Michael’s into one of the finest examples of the Perpendicular style of architecture in the north. The highlight of the 15th century work was the impressive and spacious chancel with its octagonal pillars which are elaborately sculptured.
There were no further changes to the church until the latter years of the 18th century when Hugh Percy, 1st Duke of Northumberland after renovating Alnwick Castle, repaired the chancel using his own architect Vincent Shepherd (1750-1812) assisted by Italian craftsmen. The work included a new window in the middle of the east end, a fan vaulted plaster ceiling and oak stalls for the Duke and his family. A revival in church attendance in the early part of the 19th century led to a statement in 1811 by the church councillors that accommodation was insufficient. As a result of this, a sum of £2,000 was spent in 1818 increasing the capacity to 1,200, this was achieved by removing the small galleries and adding a large one at the west end. Funds for this project came from a large donation from Hugh Percy, 3rd Duke of Northumberland, other money was raised through the church rates and the sale of seats.
When Algernon Percy, 4th Duke of Northumberland was restoring Alnwick Castle between 1854 and 1865 he agreed to finance the restoration of St Michael’s. The restoration started in 1863 and was overseen by Anthony Salvin who was also directing the work on the castle. Salvin swept away many of the mistakes of the two previous restorations, removing the plaster ceilings and the gallery. He strengthened some areas of the church and reinstated four pillars and the pointed arches to the nave which had been removed in the 1818 renewal, he also replaced some of the Decorated windows with ones in the Perpendicular style. The chancel aisle was filled with oak pews donated by the Duke.
One of the most eye catching exterior items is at the south east corner where there is an unusual lookout turret which was used to warn of raiders during the border conflicts. The turret was used in conjunction with Heiferlaw Peel tower, four miles to the north, which had a wide view of the borders and gave an early warning of any attack. The turret was again utilised in the early part of the 19th century when a landing by Napoleon’s army was feared and a series of beacons were set up around the country. The main tower stands at the west end of the church on foundations which go 30 to 40 feet below the surface, it is squat looking with battlements.
The interior features two statues which were dug up from the foundations during the 1818 restoration, they were minus the heads and have modern replacements. One is of Henry VI and the other one is either Saint Sebastian or Maurice, a local saint martyred by the Danes. There are several Medieval grave slabs built into the wall, the oldest of these dates from the 13th century. Below the west window is the modern font made from Kilkenny blue-black limestone by David Edwick of Hexham, it was a gift for the new millennium. A small window to the right of the west window has fragments of medieval glass from the 14th century within it. The rest of the stained glass comes from the 19th century and contains what is described by Nikolaus Pevsner as “an uncommonly complete and enlightening survey of 19th century glass”; it includes work by well-known makers Clayton and Bell, Lavers and Barraud, James Powell and Sons and Ward and Hughes. The east end of the church features St Catherine’s Chapel and the altar. The chapel has an interesting pillar featuring the Percy and de Vesci arms and a carving of St Catherine and the wheel on which she was martyred, it is called the Hotspur Capital and remembers Harry Hotspur, the famous warrior and son of the First Earl.
Sometimes, when you enter a church, it has been so heavily restored, it is almost impossible to tell whether the church is ancient or not, so total has the restoration been.
And that was the case with St Michael's, an impressive building, one with structural issues as the southern wall of the nave is leaning at an alarming angle, but seems stable enough.
Most of the stained glass windows are suffering from rather dramatic sun damage and fading, to the extent they look very poor indeed.
But as ever, the welcome we received was warm, and we were told the history of the church as we walked around.
---------------------------------------------------------------
St Michael’s Church is an Anglican place of worship situated on Bailiffgate in the town of Alnwick in Northumberland, England. The current building dates from the 15th century but a 12th century Norman chapel stood on the site prior to this, reports of an earlier 8th century Saxon chapel are unconfirmed. The church is dedicated to St Michael the Archangel, in earlier times it was also dedicated to St Mary as well. It is a Grade I listed building which is included in the book “England‘s Thousand Best Churches”.
The first written mention of a church on the site is found in a charter of 1147 in which Eustace fitz John endowed the newly founded Alnwick Abbey with various gifts including the Chapel of Alnwick. Very few remnants of this Norman chapel are visible in the present day church, some surviving stones with a diaper pattern are built into the chancel. The 1863 restoration revealed some buried basements of pillars in the late Norman style of architecture which existed in the first half of the 12th century. Old foundations were also exposed by the 1863 restoration which confirmed that the Norman chapel had a long, narrow nave and a small apse. The church suffered severe damage from Scottish raids during the first half of the 14th century during the Wars of Scottish Independence. The second half of the century saw repair work undertaken which saw the present nave built and the addition of the north aisle as well as the construction of the north wall all in the Decorated style
The 15th century saw the majority of the present day church built, evidence suggest that the old church was in a ruinous state by this time. Towards the end of the 14th century the Decorated style of architecture was replaced by the Perpendicular style and it is in this design that most of the new church was built. Financial aid for the rebuild came directly from the monarch King Henry VI who issued a charter in 1464 granting the Burgesses of Alnwick a port at Alnmouth with tolls on exports from it, plus a fair and market at Alnwick that besides doing other work they might “make and repair their church”. The substantial money brought in from this Royal grant enabled the Burgesses of Alnwick to turn St Michael’s into one of the finest examples of the Perpendicular style of architecture in the north. The highlight of the 15th century work was the impressive and spacious chancel with its octagonal pillars which are elaborately sculptured.
There were no further changes to the church until the latter years of the 18th century when Hugh Percy, 1st Duke of Northumberland after renovating Alnwick Castle, repaired the chancel using his own architect Vincent Shepherd (1750-1812) assisted by Italian craftsmen. The work included a new window in the middle of the east end, a fan vaulted plaster ceiling and oak stalls for the Duke and his family. A revival in church attendance in the early part of the 19th century led to a statement in 1811 by the church councillors that accommodation was insufficient. As a result of this, a sum of £2,000 was spent in 1818 increasing the capacity to 1,200, this was achieved by removing the small galleries and adding a large one at the west end. Funds for this project came from a large donation from Hugh Percy, 3rd Duke of Northumberland, other money was raised through the church rates and the sale of seats.
When Algernon Percy, 4th Duke of Northumberland was restoring Alnwick Castle between 1854 and 1865 he agreed to finance the restoration of St Michael’s. The restoration started in 1863 and was overseen by Anthony Salvin who was also directing the work on the castle. Salvin swept away many of the mistakes of the two previous restorations, removing the plaster ceilings and the gallery. He strengthened some areas of the church and reinstated four pillars and the pointed arches to the nave which had been removed in the 1818 renewal, he also replaced some of the Decorated windows with ones in the Perpendicular style. The chancel aisle was filled with oak pews donated by the Duke.
One of the most eye catching exterior items is at the south east corner where there is an unusual lookout turret which was used to warn of raiders during the border conflicts. The turret was used in conjunction with Heiferlaw Peel tower, four miles to the north, which had a wide view of the borders and gave an early warning of any attack. The turret was again utilised in the early part of the 19th century when a landing by Napoleon’s army was feared and a series of beacons were set up around the country. The main tower stands at the west end of the church on foundations which go 30 to 40 feet below the surface, it is squat looking with battlements.
The interior features two statues which were dug up from the foundations during the 1818 restoration, they were minus the heads and have modern replacements. One is of Henry VI and the other one is either Saint Sebastian or Maurice, a local saint martyred by the Danes. There are several Medieval grave slabs built into the wall, the oldest of these dates from the 13th century. Below the west window is the modern font made from Kilkenny blue-black limestone by David Edwick of Hexham, it was a gift for the new millennium. A small window to the right of the west window has fragments of medieval glass from the 14th century within it. The rest of the stained glass comes from the 19th century and contains what is described by Nikolaus Pevsner as “an uncommonly complete and enlightening survey of 19th century glass”; it includes work by well-known makers Clayton and Bell, Lavers and Barraud, James Powell and Sons and Ward and Hughes. The east end of the church features St Catherine’s Chapel and the altar. The chapel has an interesting pillar featuring the Percy and de Vesci arms and a carving of St Catherine and the wheel on which she was martyred, it is called the Hotspur Capital and remembers Harry Hotspur, the famous warrior and son of the First Earl.
Sometimes, when you enter a church, it has been so heavily restored, it is almost impossible to tell whether the church is ancient or not, so total has the restoration been.
And that was the case with St Michael's, an impressive building, one with structural issues as the southern wall of the nave is leaning at an alarming angle, but seems stable enough.
Most of the stained glass windows are suffering from rather dramatic sun damage and fading, to the extent they look very poor indeed.
But as ever, the welcome we received was warm, and we were told the history of the church as we walked around.
---------------------------------------------------------------
St Michael’s Church is an Anglican place of worship situated on Bailiffgate in the town of Alnwick in Northumberland, England. The current building dates from the 15th century but a 12th century Norman chapel stood on the site prior to this, reports of an earlier 8th century Saxon chapel are unconfirmed. The church is dedicated to St Michael the Archangel, in earlier times it was also dedicated to St Mary as well. It is a Grade I listed building which is included in the book “England‘s Thousand Best Churches”.
The first written mention of a church on the site is found in a charter of 1147 in which Eustace fitz John endowed the newly founded Alnwick Abbey with various gifts including the Chapel of Alnwick. Very few remnants of this Norman chapel are visible in the present day church, some surviving stones with a diaper pattern are built into the chancel. The 1863 restoration revealed some buried basements of pillars in the late Norman style of architecture which existed in the first half of the 12th century. Old foundations were also exposed by the 1863 restoration which confirmed that the Norman chapel had a long, narrow nave and a small apse. The church suffered severe damage from Scottish raids during the first half of the 14th century during the Wars of Scottish Independence. The second half of the century saw repair work undertaken which saw the present nave built and the addition of the north aisle as well as the construction of the north wall all in the Decorated style
The 15th century saw the majority of the present day church built, evidence suggest that the old church was in a ruinous state by this time. Towards the end of the 14th century the Decorated style of architecture was replaced by the Perpendicular style and it is in this design that most of the new church was built. Financial aid for the rebuild came directly from the monarch King Henry VI who issued a charter in 1464 granting the Burgesses of Alnwick a port at Alnmouth with tolls on exports from it, plus a fair and market at Alnwick that besides doing other work they might “make and repair their church”. The substantial money brought in from this Royal grant enabled the Burgesses of Alnwick to turn St Michael’s into one of the finest examples of the Perpendicular style of architecture in the north. The highlight of the 15th century work was the impressive and spacious chancel with its octagonal pillars which are elaborately sculptured.
There were no further changes to the church until the latter years of the 18th century when Hugh Percy, 1st Duke of Northumberland after renovating Alnwick Castle, repaired the chancel using his own architect Vincent Shepherd (1750-1812) assisted by Italian craftsmen. The work included a new window in the middle of the east end, a fan vaulted plaster ceiling and oak stalls for the Duke and his family. A revival in church attendance in the early part of the 19th century led to a statement in 1811 by the church councillors that accommodation was insufficient. As a result of this, a sum of £2,000 was spent in 1818 increasing the capacity to 1,200, this was achieved by removing the small galleries and adding a large one at the west end. Funds for this project came from a large donation from Hugh Percy, 3rd Duke of Northumberland, other money was raised through the church rates and the sale of seats.
When Algernon Percy, 4th Duke of Northumberland was restoring Alnwick Castle between 1854 and 1865 he agreed to finance the restoration of St Michael’s. The restoration started in 1863 and was overseen by Anthony Salvin who was also directing the work on the castle. Salvin swept away many of the mistakes of the two previous restorations, removing the plaster ceilings and the gallery. He strengthened some areas of the church and reinstated four pillars and the pointed arches to the nave which had been removed in the 1818 renewal, he also replaced some of the Decorated windows with ones in the Perpendicular style. The chancel aisle was filled with oak pews donated by the Duke.
One of the most eye catching exterior items is at the south east corner where there is an unusual lookout turret which was used to warn of raiders during the border conflicts. The turret was used in conjunction with Heiferlaw Peel tower, four miles to the north, which had a wide view of the borders and gave an early warning of any attack. The turret was again utilised in the early part of the 19th century when a landing by Napoleon’s army was feared and a series of beacons were set up around the country. The main tower stands at the west end of the church on foundations which go 30 to 40 feet below the surface, it is squat looking with battlements.
The interior features two statues which were dug up from the foundations during the 1818 restoration, they were minus the heads and have modern replacements. One is of Henry VI and the other one is either Saint Sebastian or Maurice, a local saint martyred by the Danes. There are several Medieval grave slabs built into the wall, the oldest of these dates from the 13th century. Below the west window is the modern font made from Kilkenny blue-black limestone by David Edwick of Hexham, it was a gift for the new millennium. A small window to the right of the west window has fragments of medieval glass from the 14th century within it. The rest of the stained glass comes from the 19th century and contains what is described by Nikolaus Pevsner as “an uncommonly complete and enlightening survey of 19th century glass”; it includes work by well-known makers Clayton and Bell, Lavers and Barraud, James Powell and Sons and Ward and Hughes. The east end of the church features St Catherine’s Chapel and the altar. The chapel has an interesting pillar featuring the Percy and de Vesci arms and a carving of St Catherine and the wheel on which she was martyred, it is called the Hotspur Capital and remembers Harry Hotspur, the famous warrior and son of the First Earl.
Sometimes, when you enter a church, it has been so heavily restored, it is almost impossible to tell whether the church is ancient or not, so total has the restoration been.
And that was the case with St Michael's, an impressive building, one with structural issues as the southern wall of the nave is leaning at an alarming angle, but seems stable enough.
Most of the stained glass windows are suffering from rather dramatic sun damage and fading, to the extent they look very poor indeed.
But as ever, the welcome we received was warm, and we were told the history of the church as we walked around.
---------------------------------------------------------------
St Michael’s Church is an Anglican place of worship situated on Bailiffgate in the town of Alnwick in Northumberland, England. The current building dates from the 15th century but a 12th century Norman chapel stood on the site prior to this, reports of an earlier 8th century Saxon chapel are unconfirmed. The church is dedicated to St Michael the Archangel, in earlier times it was also dedicated to St Mary as well. It is a Grade I listed building which is included in the book “England‘s Thousand Best Churches”.
The first written mention of a church on the site is found in a charter of 1147 in which Eustace fitz John endowed the newly founded Alnwick Abbey with various gifts including the Chapel of Alnwick. Very few remnants of this Norman chapel are visible in the present day church, some surviving stones with a diaper pattern are built into the chancel. The 1863 restoration revealed some buried basements of pillars in the late Norman style of architecture which existed in the first half of the 12th century. Old foundations were also exposed by the 1863 restoration which confirmed that the Norman chapel had a long, narrow nave and a small apse. The church suffered severe damage from Scottish raids during the first half of the 14th century during the Wars of Scottish Independence. The second half of the century saw repair work undertaken which saw the present nave built and the addition of the north aisle as well as the construction of the north wall all in the Decorated style
The 15th century saw the majority of the present day church built, evidence suggest that the old church was in a ruinous state by this time. Towards the end of the 14th century the Decorated style of architecture was replaced by the Perpendicular style and it is in this design that most of the new church was built. Financial aid for the rebuild came directly from the monarch King Henry VI who issued a charter in 1464 granting the Burgesses of Alnwick a port at Alnmouth with tolls on exports from it, plus a fair and market at Alnwick that besides doing other work they might “make and repair their church”. The substantial money brought in from this Royal grant enabled the Burgesses of Alnwick to turn St Michael’s into one of the finest examples of the Perpendicular style of architecture in the north. The highlight of the 15th century work was the impressive and spacious chancel with its octagonal pillars which are elaborately sculptured.
There were no further changes to the church until the latter years of the 18th century when Hugh Percy, 1st Duke of Northumberland after renovating Alnwick Castle, repaired the chancel using his own architect Vincent Shepherd (1750-1812) assisted by Italian craftsmen. The work included a new window in the middle of the east end, a fan vaulted plaster ceiling and oak stalls for the Duke and his family. A revival in church attendance in the early part of the 19th century led to a statement in 1811 by the church councillors that accommodation was insufficient. As a result of this, a sum of £2,000 was spent in 1818 increasing the capacity to 1,200, this was achieved by removing the small galleries and adding a large one at the west end. Funds for this project came from a large donation from Hugh Percy, 3rd Duke of Northumberland, other money was raised through the church rates and the sale of seats.
When Algernon Percy, 4th Duke of Northumberland was restoring Alnwick Castle between 1854 and 1865 he agreed to finance the restoration of St Michael’s. The restoration started in 1863 and was overseen by Anthony Salvin who was also directing the work on the castle. Salvin swept away many of the mistakes of the two previous restorations, removing the plaster ceilings and the gallery. He strengthened some areas of the church and reinstated four pillars and the pointed arches to the nave which had been removed in the 1818 renewal, he also replaced some of the Decorated windows with ones in the Perpendicular style. The chancel aisle was filled with oak pews donated by the Duke.
One of the most eye catching exterior items is at the south east corner where there is an unusual lookout turret which was used to warn of raiders during the border conflicts. The turret was used in conjunction with Heiferlaw Peel tower, four miles to the north, which had a wide view of the borders and gave an early warning of any attack. The turret was again utilised in the early part of the 19th century when a landing by Napoleon’s army was feared and a series of beacons were set up around the country. The main tower stands at the west end of the church on foundations which go 30 to 40 feet below the surface, it is squat looking with battlements.
The interior features two statues which were dug up from the foundations during the 1818 restoration, they were minus the heads and have modern replacements. One is of Henry VI and the other one is either Saint Sebastian or Maurice, a local saint martyred by the Danes. There are several Medieval grave slabs built into the wall, the oldest of these dates from the 13th century. Below the west window is the modern font made from Kilkenny blue-black limestone by David Edwick of Hexham, it was a gift for the new millennium. A small window to the right of the west window has fragments of medieval glass from the 14th century within it. The rest of the stained glass comes from the 19th century and contains what is described by Nikolaus Pevsner as “an uncommonly complete and enlightening survey of 19th century glass”; it includes work by well-known makers Clayton and Bell, Lavers and Barraud, James Powell and Sons and Ward and Hughes. The east end of the church features St Catherine’s Chapel and the altar. The chapel has an interesting pillar featuring the Percy and de Vesci arms and a carving of St Catherine and the wheel on which she was martyred, it is called the Hotspur Capital and remembers Harry Hotspur, the famous warrior and son of the First Earl.
The final twelve images from St Michael's., all unedited, I just don't seem to have the time right now, but I think worth seeing, especially the faded glass seen in some of the Victorian windows.
Sometimes, when you enter a church, it has been so heavily restored, it is almost impossible to tell whether the church is ancient or not, so total has the restoration been.
And that was the case with St Michael's, an impressive building, one with structural issues as the southern wall of the nave is leaning at an alarming angle, but seems stable enough.
Most of the stained glass windows are suffering from rather dramatic sun damage and fading, to the extent they look very poor indeed.
But as ever, the welcome we received was warm, and we were told the history of the church as we walked around.
---------------------------------------------------------------
St Michael’s Church is an Anglican place of worship situated on Bailiffgate in the town of Alnwick in Northumberland, England. The current building dates from the 15th century but a 12th century Norman chapel stood on the site prior to this, reports of an earlier 8th century Saxon chapel are unconfirmed. The church is dedicated to St Michael the Archangel, in earlier times it was also dedicated to St Mary as well. It is a Grade I listed building which is included in the book “England‘s Thousand Best Churches”.
The first written mention of a church on the site is found in a charter of 1147 in which Eustace fitz John endowed the newly founded Alnwick Abbey with various gifts including the Chapel of Alnwick. Very few remnants of this Norman chapel are visible in the present day church, some surviving stones with a diaper pattern are built into the chancel. The 1863 restoration revealed some buried basements of pillars in the late Norman style of architecture which existed in the first half of the 12th century. Old foundations were also exposed by the 1863 restoration which confirmed that the Norman chapel had a long, narrow nave and a small apse. The church suffered severe damage from Scottish raids during the first half of the 14th century during the Wars of Scottish Independence. The second half of the century saw repair work undertaken which saw the present nave built and the addition of the north aisle as well as the construction of the north wall all in the Decorated style
The 15th century saw the majority of the present day church built, evidence suggest that the old church was in a ruinous state by this time. Towards the end of the 14th century the Decorated style of architecture was replaced by the Perpendicular style and it is in this design that most of the new church was built. Financial aid for the rebuild came directly from the monarch King Henry VI who issued a charter in 1464 granting the Burgesses of Alnwick a port at Alnmouth with tolls on exports from it, plus a fair and market at Alnwick that besides doing other work they might “make and repair their church”. The substantial money brought in from this Royal grant enabled the Burgesses of Alnwick to turn St Michael’s into one of the finest examples of the Perpendicular style of architecture in the north. The highlight of the 15th century work was the impressive and spacious chancel with its octagonal pillars which are elaborately sculptured.
There were no further changes to the church until the latter years of the 18th century when Hugh Percy, 1st Duke of Northumberland after renovating Alnwick Castle, repaired the chancel using his own architect Vincent Shepherd (1750-1812) assisted by Italian craftsmen. The work included a new window in the middle of the east end, a fan vaulted plaster ceiling and oak stalls for the Duke and his family. A revival in church attendance in the early part of the 19th century led to a statement in 1811 by the church councillors that accommodation was insufficient. As a result of this, a sum of £2,000 was spent in 1818 increasing the capacity to 1,200, this was achieved by removing the small galleries and adding a large one at the west end. Funds for this project came from a large donation from Hugh Percy, 3rd Duke of Northumberland, other money was raised through the church rates and the sale of seats.
When Algernon Percy, 4th Duke of Northumberland was restoring Alnwick Castle between 1854 and 1865 he agreed to finance the restoration of St Michael’s. The restoration started in 1863 and was overseen by Anthony Salvin who was also directing the work on the castle. Salvin swept away many of the mistakes of the two previous restorations, removing the plaster ceilings and the gallery. He strengthened some areas of the church and reinstated four pillars and the pointed arches to the nave which had been removed in the 1818 renewal, he also replaced some of the Decorated windows with ones in the Perpendicular style. The chancel aisle was filled with oak pews donated by the Duke.
One of the most eye catching exterior items is at the south east corner where there is an unusual lookout turret which was used to warn of raiders during the border conflicts. The turret was used in conjunction with Heiferlaw Peel tower, four miles to the north, which had a wide view of the borders and gave an early warning of any attack. The turret was again utilised in the early part of the 19th century when a landing by Napoleon’s army was feared and a series of beacons were set up around the country. The main tower stands at the west end of the church on foundations which go 30 to 40 feet below the surface, it is squat looking with battlements.
The interior features two statues which were dug up from the foundations during the 1818 restoration, they were minus the heads and have modern replacements. One is of Henry VI and the other one is either Saint Sebastian or Maurice, a local saint martyred by the Danes. There are several Medieval grave slabs built into the wall, the oldest of these dates from the 13th century. Below the west window is the modern font made from Kilkenny blue-black limestone by David Edwick of Hexham, it was a gift for the new millennium. A small window to the right of the west window has fragments of medieval glass from the 14th century within it. The rest of the stained glass comes from the 19th century and contains what is described by Nikolaus Pevsner as “an uncommonly complete and enlightening survey of 19th century glass”; it includes work by well-known makers Clayton and Bell, Lavers and Barraud, James Powell and Sons and Ward and Hughes. The east end of the church features St Catherine’s Chapel and the altar. The chapel has an interesting pillar featuring the Percy and de Vesci arms and a carving of St Catherine and the wheel on which she was martyred, it is called the Hotspur Capital and remembers Harry Hotspur, the famous warrior and son of the First Earl.
St Michael’s Bridge is the place to be for anyone who wants to take a traditional – and probably the most beautiful – snapshot of Ghent.
visit.gent.be/en/see-do/st-michaels-bridge-romantic-ghent
Photo by Bas Bogaerts
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St Michael's Chapel (also called the Warriors Chapel) in the south transept. It is filled with tombs and monuments and rarely opened to the public.
Arguably the most important of England's cathedrals and its Mother Church, few other buildings embody the nation's history as much as this one. It also bears the distinction of being the first major example of Gothic architecture in Britain, where French masons introduced the style during the rebuilding of the choir following a major fire in the 1170s. Throughout the following centuries it became one of Europe's leading centres of pilgrimage, when thousands flocked to venerate the shrine of murdered archbishop St Thomas Becket, but brought to an abrupt end with the English Reformation, when a saint who defied a monarch was viewed with particular enmity. Though all traces of the rich shrine were destroyed, the site of Becket's martyrdom in the north transept remains a place of reverence to this day.
The cathedral is a stunning building which represents both the earliest and latest styles of English Gothic architecture, from the French inspired eastern limb and apse, to the nave, transepts and the three towers, all soaring examples of the Perpendicular style, the central tower (the 'Bell Harry') being an especially fine structure (the north-west tower was rebuilt in the 1830s as a copy of its medieval neighbour on the south side following the demolition of an earlier Norman tower, thus the present symmetry of the west façade is a relatively recent feature, originally its mismatched towers would have given it a more Continental appearance).
The earliest parts of the cathedral however are Norman, represented the easternmost chapels and transepts flanking the choir, survivors of the fire of 1174, each transept being adorned by a richly decorated miniature tower. The crypt below is the finest in the country, extending below most of the east end (with a transitional early Gothic extension to the east under the apse). Superb examples of Romanesque art can be seen in many of the crypt's sculpted capitals, and the unusually well preserved murals in St Gabriel's chapel (sadly photography is forbidden in these areas).
The cathedral contains many notable tombs and monuments of all periods from the 13th to 20th centuries, foremost amongst them being the tombs of Edward the Black Prince (with a superb bronze effigy) and King Henry IV.
It's most celebrated feature is its wonderful collection of stained glass, much of it dating back to the late 12th and early 13th centuries including a sequence of the Ancestors of Christ and the especially beautiful 'Miracle windows' in the ambulatory (relating various miracles associated with Becket's shrine). The glass is justly famous as the very finest in Britain, its deep blues and reds often compared with the famous windows of Chartres.
On the north side many of the former monastic buildings remain, with a fine late medieval cloister and a vast rectangular chapter house. The cathedral library also stands here, but was rebuilt after being destroyed by bombing in World War II; fortunately all the medieval glass in the cathedral had been removed for safe-keeping throughout the war and damage to the building was otherwise superficial.
Canterbury Cathedral put simply invites superlatives, one of the most rewarding churches anywhere and a magnificent testament to England's Christian heritage.
Saint Michael's Church (Méchelskierch, Église Saint-Michel, Sankt Michaelskirche) is a Roman Catholic church, and the oldest extant religious site, in Fishmarket, in the central Ville Haute quarter of Luxembourg City.
The first church on the spot was built in 987 as the castle chapel for the Count of Luxembourg. Over the following centuries the building was destroyed, rebuilt, and renovated several times. Its current appearance dates to 1688, and unites Romanesque and Baroque architectural styles, pre-dating the national Moselle Baroque style. The building has since been restored, preserving its original form, most recently been renovated in the 1960s, 1980s, and 2000s.
The final twelve images from St Michael's., all unedited, I just don't seem to have the time right now, but I think worth seeing, especially the faded glass seen in some of the Victorian windows.
Sometimes, when you enter a church, it has been so heavily restored, it is almost impossible to tell whether the church is ancient or not, so total has the restoration been.
And that was the case with St Michael's, an impressive building, one with structural issues as the southern wall of the nave is leaning at an alarming angle, but seems stable enough.
Most of the stained glass windows are suffering from rather dramatic sun damage and fading, to the extent they look very poor indeed.
But as ever, the welcome we received was warm, and we were told the history of the church as we walked around.
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St Michael’s Church is an Anglican place of worship situated on Bailiffgate in the town of Alnwick in Northumberland, England. The current building dates from the 15th century but a 12th century Norman chapel stood on the site prior to this, reports of an earlier 8th century Saxon chapel are unconfirmed. The church is dedicated to St Michael the Archangel, in earlier times it was also dedicated to St Mary as well. It is a Grade I listed building which is included in the book “England‘s Thousand Best Churches”.
The first written mention of a church on the site is found in a charter of 1147 in which Eustace fitz John endowed the newly founded Alnwick Abbey with various gifts including the Chapel of Alnwick. Very few remnants of this Norman chapel are visible in the present day church, some surviving stones with a diaper pattern are built into the chancel. The 1863 restoration revealed some buried basements of pillars in the late Norman style of architecture which existed in the first half of the 12th century. Old foundations were also exposed by the 1863 restoration which confirmed that the Norman chapel had a long, narrow nave and a small apse. The church suffered severe damage from Scottish raids during the first half of the 14th century during the Wars of Scottish Independence. The second half of the century saw repair work undertaken which saw the present nave built and the addition of the north aisle as well as the construction of the north wall all in the Decorated style
The 15th century saw the majority of the present day church built, evidence suggest that the old church was in a ruinous state by this time. Towards the end of the 14th century the Decorated style of architecture was replaced by the Perpendicular style and it is in this design that most of the new church was built. Financial aid for the rebuild came directly from the monarch King Henry VI who issued a charter in 1464 granting the Burgesses of Alnwick a port at Alnmouth with tolls on exports from it, plus a fair and market at Alnwick that besides doing other work they might “make and repair their church”. The substantial money brought in from this Royal grant enabled the Burgesses of Alnwick to turn St Michael’s into one of the finest examples of the Perpendicular style of architecture in the north. The highlight of the 15th century work was the impressive and spacious chancel with its octagonal pillars which are elaborately sculptured.
There were no further changes to the church until the latter years of the 18th century when Hugh Percy, 1st Duke of Northumberland after renovating Alnwick Castle, repaired the chancel using his own architect Vincent Shepherd (1750-1812) assisted by Italian craftsmen. The work included a new window in the middle of the east end, a fan vaulted plaster ceiling and oak stalls for the Duke and his family. A revival in church attendance in the early part of the 19th century led to a statement in 1811 by the church councillors that accommodation was insufficient. As a result of this, a sum of £2,000 was spent in 1818 increasing the capacity to 1,200, this was achieved by removing the small galleries and adding a large one at the west end. Funds for this project came from a large donation from Hugh Percy, 3rd Duke of Northumberland, other money was raised through the church rates and the sale of seats.
When Algernon Percy, 4th Duke of Northumberland was restoring Alnwick Castle between 1854 and 1865 he agreed to finance the restoration of St Michael’s. The restoration started in 1863 and was overseen by Anthony Salvin who was also directing the work on the castle. Salvin swept away many of the mistakes of the two previous restorations, removing the plaster ceilings and the gallery. He strengthened some areas of the church and reinstated four pillars and the pointed arches to the nave which had been removed in the 1818 renewal, he also replaced some of the Decorated windows with ones in the Perpendicular style. The chancel aisle was filled with oak pews donated by the Duke.
One of the most eye catching exterior items is at the south east corner where there is an unusual lookout turret which was used to warn of raiders during the border conflicts. The turret was used in conjunction with Heiferlaw Peel tower, four miles to the north, which had a wide view of the borders and gave an early warning of any attack. The turret was again utilised in the early part of the 19th century when a landing by Napoleon’s army was feared and a series of beacons were set up around the country. The main tower stands at the west end of the church on foundations which go 30 to 40 feet below the surface, it is squat looking with battlements.
The interior features two statues which were dug up from the foundations during the 1818 restoration, they were minus the heads and have modern replacements. One is of Henry VI and the other one is either Saint Sebastian or Maurice, a local saint martyred by the Danes. There are several Medieval grave slabs built into the wall, the oldest of these dates from the 13th century. Below the west window is the modern font made from Kilkenny blue-black limestone by David Edwick of Hexham, it was a gift for the new millennium. A small window to the right of the west window has fragments of medieval glass from the 14th century within it. The rest of the stained glass comes from the 19th century and contains what is described by Nikolaus Pevsner as “an uncommonly complete and enlightening survey of 19th century glass”; it includes work by well-known makers Clayton and Bell, Lavers and Barraud, James Powell and Sons and Ward and Hughes. The east end of the church features St Catherine’s Chapel and the altar. The chapel has an interesting pillar featuring the Percy and de Vesci arms and a carving of St Catherine and the wheel on which she was martyred, it is called the Hotspur Capital and remembers Harry Hotspur, the famous warrior and son of the First Earl.