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Detail from the magnificent chantry chapel of Prince Arthur at Worcester, a masterpiece of late medieval architecture and sculpture and the last resting place of Henry VIII's elder brother.
Worcester Cathedral is the commanding presence on the skyline of the city, perched on high ground overlooking the River Severn. It is one of England's most rewarding cathedrals, though denied first rank status owing to the heavy handed Victorian restorations it underwent, an unavoidable consequence of being built of soft red sandstone (a problem shared with Chester and Lichfield) and thus a 19th century feel pervades inside and out in it's mostly renewed external stonework and furnishings.
The cathedral impresses with it's scale, one or our longer churches, crowned by a magnificent central tower (originally surmounted by a lead spire, lost sometime after the Refomation; subtle alterations to the tower's design were made when it was refaced in the Victorian restoration) and with a secondary pair of transepts flanking the choir (as at Salisbury, Lincoln, Rochester & Canterbury). Of the former monastic buildings the cloister and Norman chapter house have survived (along with the refectory, now part of neighbouring King's School), making this a more complex and enjoyable building to explore.
The earliest parts are of the Norman period with the superb 12th century crypt under the choir. The west end of the nave is also Norman work, though very late and unusual in design, with transitional pointed arches. However the bulk of the building we see dates from the 13th and 14th centuries, the east end in Early English gothic style (where most of the windows were restored to stepped lancets by Sir George Gilbert Scott during the Victorian restoration, having been altered over the centuries), whilst the remainder of the nave and tower largely of the Decorated period (the cathedral originally also possessed a detached octagonal bell tower with a lead spire, which stood near the north east corner but was demolished in 1647).
Of the original furnishings little remains beyond the fine set of misericords in the choir stalls. The stained glass too is nearly entirely Victorian (only some meagre, much restored medieval fragments survive in traceries of the south aisle). Much of the Victorian glass is quite impressive, particularly the great east and west windows by Hardman's of Birmingham.
Worcester is however especially rich in tombs and monuments of all periods, with medieval effigies of bishops, knights and ladies, not all in good condition but worth seeking out. There are also several large tombs from the post-Reformation period (especially in the cluttered south aisle) and some fine Baroque work in the north transept.
The most significant of the monuments here are Royal; in the centre of the choir lies the fine 13th century effigy of King John, best remembered for signing the Magna Carta. Nearby is the superb chantry chapel of Prince Arthur, elder brother of Henry VIII, whose premature death aged 15 changed England forever (one of the most pivotal moments in our history, had he survived the Reformation may never have happened). The gorgeous late Perpendicular gothic chapel stands to the south of the High Altar and is remarkable for it's rich sculpted detail.
Westminster Abbey is perhaps the most significant church in English History, site of the coronation of monarchs since it was founded by Edward the Confessor, and burial place of the majority of them, along with many other historical figures of note. It is first and foremost a superlative work of medieval architecture, from its soaring 13th-14th century nave, transepts and choir (all in a curiously French inspired version of Decorated Gothic) to the masterpiece of English Perpendicular, the incredibly lacy fan-vaulted Henry VII's chapel at the east end.
The Abbey is also a treasure house of ecclesiastical art, most of it monumental sculpture on the numerous tombs and effigies of almost every date ranging from the entire medieval period through to the 20th century; a somewhat cluttered interior, crammed full of interest, there is simply nothing else quite like it, no other church contains so many monuments.
The Abbey's monastic ranges partially survive, most notably the cloisters and superb chapter house; a short summary of the Abbey's riches is simply impossible. The monastery itself was shut down during the Dissolution, after which the Abbey briefly became a cathedral until its diocesan rank was revoked merely a decade later. Today it is designated a 'Royal Peculiar' owing to its unique status.
The Abbey is a textbook in stone of British history, and thus a hugely popular tourist attraction. It currently has more limited opening hours in the post-Covid recovery period and entry is not cheap, but happily after decades of a strict prohibition against photographers the rules have now been relaxed at last and visitors are now welcome to fully enjoy this marvellous building with their cameras!
For further details (and restrictions) see below:-
St Mary's commands the high ground above the pretty village of Kersey, a delightful landmark seen from afar, beckoning the visitor onwards. The village itself sits in the valley, so to reach the church one must climb beyond it, but it is worth the effort (not the easiest of bike rides, the steep ascent to the church had me back on foot again rather quickly (to the amusement of some visitors) whilst Simon patiently waited for me up top).
St Mary's is a grander edifice than most we had visited that day, asserting its presence with its majestic west tower, its parapet adorned with pretty flushwork as is the impressive south porch. The church itself consists of the 14th century nave and spacious north aisle whilst the chancel beyond was rebuilt in Victorian times. The north aisle's proportions in fact match those of the nave in width, most likely as a result of accommodating the shrine of Our Lady of Kersey prior to the Reformation (it seems likely an equally grand south aisle would have been planned but was never realised).
Within the light interior reveals itself to be a rather complex and unusual one, the nave and aisle being divided equally by a delicate arcade whose moldings are adorned with tiny carvings of lion-heads issuing foliage. The nave itself is otherwise somewhat austere, though originally would have been enlivened by an angel roof. The medieval roof is still there but shorn of its ornamentation, the eight angel figures carved into the hammerbeams have sadly been mutilated by the puritans and reduced to headless draped bodies. The ancient font survives but has also suffered some damage to its carving. The wooden eagle lectern however also appears to be genuine medieval work and in fine condition.
The north aisle is the more inviting space, lighter and full of interest. On the north wall is a large niche which is presumed to have been the site of the ancient shrine and now contains fragments of medieval sculpture. This was originally a very richly adorned space, the east end has remains of heavily mutilated niches that once towered either side of the east window, one of which contains a beautiful fragment of medieval sculpture, a headless figure of St Anne with preserved polychrome. All around the aisle at ceiling level is a carved frieze that must have once been heavily populated with figurative imagery and angels, but it has been so ruthlessly butchered by iconoclasts as to be impossible to read.
More inspiring survivals can however still be enjoyed. The sedilia adjoining the eastern most arch is a delightful piece of mid 14th century work, pierced so as to communicate with the chancel. The niches contain delicate miniature vaults with some interesting carved heads (easily missed) though the work was never entirely finished (likely cut short by the Black Death). Adjoining this is displayed the last remaining section of the lower part of the rood screen with six painted figures in colourful late medieval dress (St Edmund, two kings and three prophets).
This is a church of great interest in an area of great beauty and well worth visiting (I am so glad we came here as this was a last minute addition to our itinerary and a lovely surprise) . The renown of Kersey as one of Suffolk's most attractive villages ensures it remains popular with visitors and thus is normally open and welcoming on a daily basis.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
My visit coincided with the major 'Crucible' exhibition of contemporary sculpture (September-October 2010), examples of which I will upload in due course.
Montalbano Elicona is a comune (municipality) in the Province of Messina in the Italian region Sicily, located about 150 km east of Palermo and about 50 km southwest of Messina. As of 31 December 2004, it had a population of 2,687 and an area of 67.4 km². It is mainly known for the castle built in 1233 by the Emperor Frederic II and the medieval architecture of its streets.The municipality of Montalbano Elicona contains the frazioni (subdivisions, mainly villages and hamlets) Pellizzaro, Toscano, Santa Barbara,Casale, Villa Braidi, and Santa Maria, Santa Venera e Santo Stefano.Montalbano Elicona borders the following municipalities: Basicò, Falcone, Floresta, Francavilla di Sicilia, Librizzi, Malvagna, Oliveri, Patti, Raccuja, Roccella Valdemone, San Piero Patti, Santa Domenica Vittoria, Tripi.Crowned from a majestic Castle, encircled from secular forests that they perfume of thousands essences it is one of the antichi and evocative centers of the nebroidea area, rich of stroria, art and traditions. The students from ten years discuss on the origins of the country and of name. Montalbano Elicona derives from the Latin names mons albus with reference to mounts covered with snow or from the Arabic names al bana meaning of "excellent place". During the period of the Greek colonization (VII-VIII sec. B.C.), Dori, thinking to the mythical mount of the Muse, called Helikon the place that coinciding with the rise on which rises the medieval village and a torrent whose tortuous course justifies the name. First news about the existence of the village dates back to the XI century when it was a State possession. In 1232 it revolted against Federick II of Swabia, and supported the Pope together with other centres. Later it has belonged to different feudatories: Lancias in 1396, Romano Colonnas, Bonannos in 1587. It is prevalently an agricultural centre. Products mostly cultivated are grapes, cereals, chestnuts, walnuts, hazel-nuts. Very good are dairying products typical of the place. The tipical gastronomy are "maccheroni stirati a mano" and seasoned with sauce of pork, mutton and goat's meat. More important is the production of sweet whith almond, hazelnut and the typical biscuit of the Easter. The most interesting monuments are the Mother Church , today known as the Basilica Minore and the Church of S. Caterina. Built in Middle Ages, the Church Mother, was refounded and enlarged in 1654 by adding two side aisles and the splendid bell tower. The Church dedicated to San Nicola, the Saint Patron of the town, had a precious statue, built by Gagini in 1587. Neighbouring to castle there is the Church of Santa Caterina. It has a wonderful portal in romantic style. In the interior there is a statue of the Sant made in marble with a bas-relief base. Interesting to see are also some beautiful baroque portals: the Portale di casa Messina-Ballarino, built by Irardi da Napoli in the seventeenth century and the Portale di casa Mastropaolo, built in the eighteenth century by a stone-cutter born in Montalbano Elicona and named Bongiovanni and also the fountain of Gattuso.
Montalbano Elicona è un comune italiano di 2.485 abitanti della provincia di Messina in Sicilia.È caratterizzato dalla presenza, nella parte antica dell'abitato, di un antico Castello che fu residenza estiva di re Federico II di Aragona.La prima parte del nome è un composto di mons (monte) e albanus, da albus, bianco. In specifico, si riferisce all'antico nome del monte su cui fu realizzato un castello per volere di Federico II d'Aragona.Gli studiosi non sono concordi sulle origini del paese e del suo nome. Alcuni fanno risalire tale origine dai nomi latini mons albus con riferimento ai monti innevati, altri al nome arabo al bana, dal suggestivo significato di "luogo eccellente". L'appellativo Elicona risale senz'altro alla colonizzazione greca. Durante il periodo della colonizzazione (VII-VIII secolo a.C.), i Dori, pensando al mitico monte delle Muse, chiamarono Helikon un sito, coincidente con l'altura su cui sorge il borgo medievale ed un torrente vicino il cui andamento tortuoso giustifica l'appellativo.
Le prime testimonianze sull'esistenza del borgo risalgono all'XI secolo, quando risultava possesso demaniale. Nel 1232 si rivoltò contro Federico II di Svevia, parteggiando per il Papa insieme ad altri centri. Successivamente appartenne a diversi feudatari: ai Lancia nel 1396, ai Romano Colonna, ai Bonanno nel 1587.Montalbano Elicona è stato inserito nell'elenco dei 90 borghi medievali più belli d'Italia, cioè nel club de I borghi più belli d'Italia, un'esclusiva associazione di piccoli centri italiani che si distinguono per grande interesse artistico, culturale e storico, per l'armonia del tessuto urbano, vivibilità e servizi ai cittadini. Tra le chiese di interesse artistico certamente è da sottolineare la Basilica di Maria Assunta in cielo (Duomo) con le sue opere d'arte, in particolare quelle del Gagini.
El-Mo`ez Street, one of the oldest streets in Cairo, is approximately one kilometer long. The street, according to UN studies, has the greatest concentration of medieval architectural treasures in the world. The street is named after the fourth Fatimid Caliph, conqueror of Egypt and founder of medieval Cairo, Al-Mo`ez Li-Din Illah (r. 953-975).
The street stretches from Bab Zuweila and the southern walls of the city to Bab El-Fotouh and Bab El-Nasr on the northern walls.
The street is commonly considered to consist of three sections: El-Ghuriyya, south of the intersection with Al-Azhar Street; El-Mo`ez and Khan El-Khalili, north and west of the intersection; and El-Gamaliyya, north and east of the intersection.
After the fall of the Fatimid Caliphate (909-1171) the two Fatimid Palaces on either sides of the street (hence the neighbourhood's name: Beyn El-Qasreyn) as well as the Caliphal Fatimid Cemetery (now El-Hussein Mosque) were destroyed. Eventually, they were replaced with tens of monumental mosques, madrassas, mausoleums and sabil-kotabs under the patronage of Egypt's various Ayyubid, Mamluk, Ottoman and Alewi rulers.
Opposite the monumental Bimaristan of Sultan Qalawun (right) stands the mausoleum complex of Al-Salih Negm ed-Din Ayyub (r. 1240-1249), the last Ayyubid Sultan. The mausoleum marked the introduction of a remarkable architectural formula which would influence Islamic architecture forever: the attachment of tomb, school and mosque in funerary complexes. The sabil-kotab attached to the Ayyubid mausoleum are a later addition by the short-lived Ottoman Viceroy, Khusru Pacha (r. 1535-1536).
Eltham Palace in south east London is the place where high medieval architecture and the art deco styling of the 1930s collide.
www.flickr.com/photos/barryslemmings/sets/72157594230012929/ for the full set.
The site had belonged to Bishop Odo, half brother of William the Conqueror in 1086. Anthony Bek, Bishop of Durham, certainly built a defensive wall around the site in the 1290s. Edward I, Edward II and Edward III all visited or lived here, Bek having given the site to young Edward II. Edward III spent most of his youth here.
The Order of the Garter, Europe's oldest surviving order of chivalry may have been founded here by Edward III in 1348. Later kings added to the site but it was Edward IV who built the magnificent Great Hall in 1470s which can still be seen. It has the third largest hammer beam ceiling in England.
Tudor kings Henry VII and Henry VIII favoured the site for many years as it was one of only six palaces which could house the entire royal court of 800 people. However Eltham was largely replaced by the now lost Greenwich Palace which was nearer the river but still had access to the good hunting around Eltham.
It later became a farm and the Great Hall narrowly avoided demolition in the 19th century.
In the 1930s the lease was acquired by the wealthy Courtauld family who proposed a radical rebuild of the site, which was still owned by the Crown. After some controversy architects John Seely and Paul Paget go the go-ahead in 1933 and work started.
The interior is furnished in the art-deco style and modern features of the new house included a centralised vacuum cleaner system in the basement with outlets in every room, heated towel rails and radios in the staff bedrooms.
The Courtaulds lived in the house from 1936 until 1944. Conservative minister Rab Butler lived at Eltham with the Courtaulds and much of the 1944 Education Act is thought to have been written here.
Although the family still had 88 years left on the lease the Second World War prompted the Courtaulds to leave and the building became the headquarters for the Army Educational Corps from 1945 until 1992. English Heritage had already cared for the Great Hall but took over the whole site in 1995 and began a restoration of the main house which, fortunately, had retained many of its art deco features and interiors.
More fittings and furniture have since been returned to the house - including a table and chairs which were found in the board room and the props department of Pinewood film studios. Stephen Courtauld had been on the board of Ealing Film Studios for 20 years.
Fawsley church has long been a favourite of mine, ever since we first stumbled across it on a family outing in my youth. Seeing it standing alone in its field we simply had to stop and investigate, and were not prepared for the wealth of interest awaiting us inside. The memory thus is a strong one, and we liked it enough to revisit all those years ago, but it had been a good three decades and more since then and I was most eager to return.
To reach the church one has to pass through a gate and a field usually full of roaming sheep. The church is protected by a ditch that encloses it and the very small churchyard on the south side, beyond which is a lake. A short distance to the west stands the late medieval Fawsley Hall, now a hotel but formerly the ancient home of the Knightley Family who at the time of the Reformation decided to clear away Fawsley village to enclose the area for sheep grazing, living only the church standing alone as it still does today.
The earliest parts of the building are 13th century but what we see today is the result of various modifications since, the square tower being of 14th century date and the nave clerestorey and square-headed aisle windows from the early Tudor period. Lastly the small chancel was rebuilt in 1690, an example of Gothic Survival, blending well with the rest of the building. The material used is as usual in this area the warm Northamptonshire ironstone, though here it has a more silvery appearance as a result of being loud with lichen, though much of the whiteness of the north face of the tower appears to be the remnants of an external limewash. The effect is attractive and gives the northern face of the building a rather chalky finish.
Stepping inside through the narrow north door reveals an interior full of interesting features. a light interior that though not large feels more spacious than it is owing to the lack of pews except for the rare Tudor box pews at the west end. These only fill the first bay of the nave but are replete with linenfold below and fascinating carved panels above which include many strange human and animal figures. The style is a fusion of late medieval and Renaissance and the date may be perhaps 1530s.
The windows meanwhile are filled with an assortment of heraldic medallions and Flemish figurative roundels, all mainly of 16th century date with a few notable exceptions (some late medieval elements remain amidst the heraldry while the west window of the south aisle has an intriguing patchwork of 17th century enamel-painted pieces). The only evidence of the Victorian period is the east window of the chancel which is a fairly standard work by Hardman's.
Perhaps the most memorable features here however are the monuments, the best being the magnificent Tudor alabaster tomb of Sir Richard and Lady Knightley with splendid effigies lying on a tomb chest adorned with small figures of their eight sons and four daughters. It is one of the finest church monuments in the country and remarkable for fusing Gothic and Renaissance details (though it remains more medieval in spirit) and retaining so much of its original colouring. Nearby in the nave are two fine late medieval brasses whilst opposite is an extraordinarily massive Jacobean monument to members of the Knightley family that fills much of the wall of the north aisle, flanked by a pair of later urn like memorials. Various grand tablets adorn the walls elsewhere in the church.
Fawsley church is unspoilt and unforgettable and if one has limited time visiting the area then this is the church to see, it is a delightful and hugely rewarding place in every sense. Happily it is normally open and welcoming to visitors too, and I was glad to see that several came in for a look throughout my visit.
The church suffered in recent years owing to the theft of lead from the roof but all is now restored. It is a heavy burden for the tiny congregation that support it, but they soldier on and will doubtless welcome any support this lovely building can attract.
Merton College is one of the very oldest in Oxford, being founded by Bishop Walter de Merton in 1264, and whilst there are other claimants in the city for the title of the most ancient Merton remains the most structurally complete of these earliest foundations (by virtue of its medieval architecture remaining largely intact whereas the rival claimants have been largely rebuilt over the following centuries).
The most impressive part of the complex is the chapel, a remarkable 14th century church with a handsome central tower finished a century later. The chapel is on an ambitious scale and was clearly originally intended to be cruciform but never received its nave (a roof-line is marked out on the west wall but work never proceeded beyond this point). Most of the building is in uniform 13th century Decorated Gothic style aside from the Perpendicular tower and the larger windows in the transepts.
Inside the chapel is a vast open space, the transepts and crossing forming an ante-chapel and the chancel the main working part of the chapel. It is here that the extensive original late 13th century glazing can be admired, an exceptionally almost complete scheme that allows a glimpse of lost medieval England. The side windows of the chancel all appear to have retained their original glass whilst the huge east window has lost its main lights but retains all its tracery glass (elements of late 14th and 15th century glass from the transepts is now displayed in the lower part of the window). The glass follows the form of a medieval 'band window' whereby much of the window space is filled by grisalle and decorative borders with the fully coloured figurative glass mostly concentrated in a singly band across the centre of the window (an economical way to glaze large areas with an expensive material, and retain a balance of light!). The glass was donated by Henry de Mamesfield (d.1328), a former fellow of the college and later Chancellor of the University. This is almost the most notorious known example of the depiction of a donor in stained glass, as he appears in each window twice, kneeling in prayer and flanking the single image of a saint (meaning he outnumbers them two to one!).
Merton College has more quadrangles and courtyards to enjoy beyond the chapel, and is perhaps my favourite of the Oxford colleges. An entry fee is required here nowadays but you are then free to explore on your own once through the door.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14 th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
Montalbano Elicona is a comune (municipality) in the Province of Messina in the Italian region Sicily, located about 150 km east of Palermo and about 50 km southwest of Messina. As of 31 December 2004, it had a population of 2,687 and an area of 67.4 km². It is mainly known for the castle built in 1233 by the Emperor Frederic II and the medieval architecture of its streets.The municipality of Montalbano Elicona contains the frazioni (subdivisions, mainly villages and hamlets) Pellizzaro, Toscano, Santa Barbara,Casale, Villa Braidi, and Santa Maria, Santa Venera e Santo Stefano.Montalbano Elicona borders the following municipalities: Basicò, Falcone, Floresta, Francavilla di Sicilia, Librizzi, Malvagna, Oliveri, Patti, Raccuja, Roccella Valdemone, San Piero Patti, Santa Domenica Vittoria, Tripi.Crowned from a majestic Castle, encircled from secular forests that they perfume of thousands essences it is one of the antichi and evocative centers of the nebroidea area, rich of stroria, art and traditions. The students from ten years discuss on the origins of the country and of name. Montalbano Elicona derives from the Latin names mons albus with reference to mounts covered with snow or from the Arabic names al bana meaning of "excellent place". During the period of the Greek colonization (VII-VIII sec. B.C.), Dori, thinking to the mythical mount of the Muse, called Helikon the place that coinciding with the rise on which rises the medieval village and a torrent whose tortuous course justifies the name. First news about the existence of the village dates back to the XI century when it was a State possession. In 1232 it revolted against Federick II of Swabia, and supported the Pope together with other centres. Later it has belonged to different feudatories: Lancias in 1396, Romano Colonnas, Bonannos in 1587. It is prevalently an agricultural centre. Products mostly cultivated are grapes, cereals, chestnuts, walnuts, hazel-nuts. Very good are dairying products typical of the place. The tipical gastronomy are "maccheroni stirati a mano" and seasoned with sauce of pork, mutton and goat's meat. More important is the production of sweet whith almond, hazelnut and the typical biscuit of the Easter. The most interesting monuments are the Mother Church , today known as the Basilica Minore and the Church of S. Caterina. Built in Middle Ages, the Church Mother, was refounded and enlarged in 1654 by adding two side aisles and the splendid bell tower. The Church dedicated to San Nicola, the Saint Patron of the town, had a precious statue, built by Gagini in 1587. Neighbouring to castle there is the Church of Santa Caterina. It has a wonderful portal in romantic style. In the interior there is a statue of the Sant made in marble with a bas-relief base. Interesting to see are also some beautiful baroque portals: the Portale di casa Messina-Ballarino, built by Irardi da Napoli in the seventeenth century and the Portale di casa Mastropaolo, built in the eighteenth century by a stone-cutter born in Montalbano Elicona and named Bongiovanni and also the fountain of Gattuso.
Montalbano Elicona è un comune italiano di 2.485 abitanti della provincia di Messina in Sicilia.È caratterizzato dalla presenza, nella parte antica dell'abitato, di un antico Castello che fu residenza estiva di re Federico II di Aragona.La prima parte del nome è un composto di mons (monte) e albanus, da albus, bianco. In specifico, si riferisce all'antico nome del monte su cui fu realizzato un castello per volere di Federico II d'Aragona.Gli studiosi non sono concordi sulle origini del paese e del suo nome. Alcuni fanno risalire tale origine dai nomi latini mons albus con riferimento ai monti innevati, altri al nome arabo al bana, dal suggestivo significato di "luogo eccellente". L'appellativo Elicona risale senz'altro alla colonizzazione greca. Durante il periodo della colonizzazione (VII-VIII secolo a.C.), i Dori, pensando al mitico monte delle Muse, chiamarono Helikon un sito, coincidente con l'altura su cui sorge il borgo medievale ed un torrente vicino il cui andamento tortuoso giustifica l'appellativo.
Le prime testimonianze sull'esistenza del borgo risalgono all'XI secolo, quando risultava possesso demaniale. Nel 1232 si rivoltò contro Federico II di Svevia, parteggiando per il Papa insieme ad altri centri. Successivamente appartenne a diversi feudatari: ai Lancia nel 1396, ai Romano Colonna, ai Bonanno nel 1587.Montalbano Elicona è stato inserito nell'elenco dei 90 borghi medievali più belli d'Italia, cioè nel club de I borghi più belli d'Italia, un'esclusiva associazione di piccoli centri italiani che si distinguono per grande interesse artistico, culturale e storico, per l'armonia del tessuto urbano, vivibilità e servizi ai cittadini. Tra le chiese di interesse artistico certamente è da sottolineare la Basilica di Maria Assunta in cielo (Duomo) con le sue opere d'arte, in particolare quelle del Gagini.
Sculpture from the magnificent chantry chapel of Prince Arthur at Worcester, a masterpiece of late medieval architecture and sculpture and the last resting place of Henry VIII's elder brother.
Unusually, most of the medieval statuary of the chapel has survived both Reformation and Civil War though the main reredos figures have been defaced, though it seems the primary motive here was to remove the extremeties of the sculptures, allowing a flatter surface to board or plaster over! Nonetheless enough survives to give a good indication of their quality.
Worcester Cathedral is the commanding presence on the skyline of the city, perched on high ground overlooking the River Severn. It is one of England's most rewarding cathedrals, though denied first rank status owing to the heavy handed Victorian restorations it underwent, an unavoidable consequence of being built of soft red sandstone (a problem shared with Chester and Lichfield) and thus a 19th century feel pervades inside and out in it's mostly renewed external stonework and furnishings.
The cathedral impresses with it's scale, one or our longer churches, crowned by a magnificent central tower (originally surmounted by a lead spire, lost sometime after the Refomation; subtle alterations to the tower's design were made when it was refaced in the Victorian restoration) and with a secondary pair of transepts flanking the choir (as at Salisbury, Lincoln, Rochester & Canterbury). Of the former monastic buildings the cloister and Norman chapter house have survived (along with the refectory, now part of neighbouring King's School), making this a more complex and enjoyable building to explore.
The earliest parts are of the Norman period with the superb 12th century crypt under the choir. The west end of the nave is also Norman work, though very late and unusual in design, with transitional pointed arches. However the bulk of the building we see dates from the 13th and 14th centuries, the east end in Early English gothic style (where most of the windows were restored to stepped lancets by Sir George Gilbert Scott during the Victorian restoration, having been altered over the centuries), whilst the remainder of the nave and tower largely of the Decorated period (the cathedral originally also possessed a detached octagonal bell tower with a lead spire, which stood near the north east corner but was demolished in 1647).
Of the original furnishings little remains beyond the fine set of misericords in the choir stalls. The stained glass too is nearly entirely Victorian (only some meagre, much restored medieval fragments survive in traceries of the south aisle). Much of the Victorian glass is quite impressive, particularly the great east and west windows by Hardman's of Birmingham.
Worcester is however especially rich in tombs and monuments of all periods, with medieval effigies of bishops, knights and ladies, not all in good condition but worth seeking out. There are also several large tombs from the post-Reformation period (especially in the cluttered south aisle) and some fine Baroque work in the north transept.
The most significant of the monuments here are Royal; in the centre of the choir lies the fine 13th century effigy of King John, best remembered for signing the Magna Carta. Nearby is the superb chantry chapel of Prince Arthur, elder brother of Henry VIII, whose premature death aged 15 changed England forever (one of the most pivotal moments in our history, had he survived the Reformation may never have happened). The gorgeous late Perpendicular gothic chapel stands to the south of the High Altar and is remarkable for it's rich sculpted detail.
Heading down Costarella dei Barbieri into the Piazza del Campo in Siena. The square was a few days away from the big Palio horse race so it was quite packed full of people. Was also sand all the way around the square for the horses to run on 2nd July 2018.
Piazza del Campo is the principal public space of the historic center of Siena, Tuscany, Italy and is regarded as one of Europe's greatest medieval squares. It is renowned worldwide for its beauty and architectural integrity. The Palazzo Pubblico and its Torre del Mangia, as well as various palazzi signorili surround the shell-shaped piazza. At the northwest edge is the Fonte Gaia.
The twice-a-year horse-race, Palio di Siena, is held around the edges of the piazza. The piazza is also the finish of the annual road cycling race Strade Bianche.
The open site was a marketplace established before the thirteenth century on a sloping site near the meeting point of the three hillside communities that coalesced to form Siena: the Castellare, the San Martino and the Camollia. Siena may have had earlier Etruscan settlements, but it was not a considerable Roman settlement, and the campo does not lie on the site of a Roman forum, as is sometimes suggested. It was paved in 1349 in fishbone-patterned red brick with nine lines of travertine, which divide the piazza into ten sections, radiating from the mouth of the gavinone (the central water drain) in front of the Palazzo Pubblico. The number of divisions is held to be symbolic of the rule of The Nine (Noveschi) who laid out the campo and governed Siena at the height of its mediaeval splendour between 1292-1355. The Campo was and remains the focal point of public life in the City. From the piazza, eleven narrow shaded streets radiate into the city.
The palazzi signorili that line the square, housing the families of the Sansedoni, the Piccolomini and the Saracini etc., have unified rooflines, in contrast to earlier tower houses — emblems of communal strife — such as may still be seen not far from Siena at San Gimignano. In the statutes of Siena, civic and architectural decorum was ordered :"...it responds to the beauty of the city of Siena and to the satisfaction of almost all people of the same city that any edifices that are to be made anew anywhere along the public thoroughfares...proceed in line with the existent buildings and one building not stand out beyond another, but they shall be disposed and arranged equally so as to be of the greatest beauty for the city."
The unity of these Late Gothic houses is effected in part by the uniformity of the bricks of which their walls are built: brick-making was a monopoly of the commune, which saw to it that standards were maintained.
At the foot of the Palazzo Pubblico's wall is the late Gothic Chapel of the Virgin built as an ex voto by the Sienese, after the terrible Black Death of 1348 had ended.
Contrade of Siena flags on Siena Town Hall.
The Palazzo Pubblico (town hall) is a palace in Siena, Tuscany, central Italy. Construction began in 1297 to serve as the Republic of Siena's government, which consisted of the Podestà and Council of Nine, the elected officials who performed executive functions (and judicial ones in secular matters).
The outside of the structure is an example of Italian medieval architecture with Gothic influences. The lower story is stone while the upper crenellated stories are made of brick. The facade of the palace is curved slightly inwards (concave) to reflect the outwards curve (convex) of the Piazza del Campo, Siena's central square, of which the Palace is the focal point.
The campanile or bell tower, Torre del Mangia, was built between 1325 and 1344; its crown was designed by the painter Lippo Memmi. The tower was designed to be taller than the tower in neighbouring rival Florence; at the time it was the tallest structure in Italy. It was fitted with a mechanical clock during the mid-14th century. Its design has been used as the basis for several other campaniles, including the Dock Tower in Grimsby, England, constructed in 1852 and the Joseph Chamberlain Memorial Clock Tower in the Edgbaston campus of the University of Birmingham, which was completed in 1908.
St Faith's church sits charmingly in the picturesque surroundings of Overbury, a handsome building whose various parts span the entire medieval period, from the largely Norman nave to the Perpendicular central tower, of a design and colouring that would make it quite at home in the nearby Cotswolds.
The interior takes a moment to adjust to owing to the low light level, The Norman nave was provided with a row of clerestorey windows on either side which would have improved this situation were it not for the fact the aisle walls and roofs were rebuilt to a higher level in the following centuries. The nave thus is a brooding space from which the lighter 13th century chancel beyond draws the eye, and has the added appeal of a vaulted ceiling, an unusual luxury for a village church. The unusually wide east window is a later insertion to increase the light within.
This is an enjoyable space full of interest with a few particular features worth seeking out, foremost of which is the Norman font which greets the visitor near the south door and is carved with two unidentified figures in relief.
Overbury church was open and welcoming in pre-Covid days and well worth a visit.
For more see the link below:-
www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...
Westminster Abbey is perhaps the most significant church in English History, site of the coronation of monarchs since it was founded by Edward the Confessor, and burial place of the majority of them, along with many other historical figures of note. It is first and foremost a superlative work of medieval architecture, from its soaring 13th-14th century nave, transepts and choir (all in a curiously French inspired version of Decorated Gothic) to the masterpiece of English Perpendicular, the incredibly lacy fan-vaulted Henry VII's chapel at the east end.
The Abbey is also a treasure house of ecclesiastical art, most of it monumental sculpture on the numerous tombs and effigies of almost every date ranging from the entire medieval period through to the 20th century; a somewhat cluttered interior, crammed full of interest, there is simply nothing else quite like it, no other church contains so many monuments.
The Abbey's monastic ranges partially survive, most notably the cloisters and superb chapter house; a short summary of the Abbey's riches is simply impossible. The monastery itself was shut down during the Dissolution, after which the Abbey briefly became a cathedral until its diocesan rank was revoked merely a decade later. Today it is designated a 'Royal Peculiar' owing to its unique status.
The Abbey is a textbook in stone of British history, and thus a hugely popular tourist attraction. It currently has more limited opening hours in the post-Covid recovery period and entry is not cheap, but happily after decades of a strict prohibition against photographers the rules have now been relaxed at last and visitors are now welcome to fully enjoy this marvellous building with their cameras!
For further details (and restrictions) see below:-
Montalbano Elicona is a comune (municipality) in the Province of Messina in the Italian region Sicily, located about 150 km east of Palermo and about 50 km southwest of Messina. As of 31 December 2004, it had a population of 2,687 and an area of 67.4 km². It is mainly known for the castle built in 1233 by the Emperor Frederic II and the medieval architecture of its streets.The municipality of Montalbano Elicona contains the frazioni (subdivisions, mainly villages and hamlets) Pellizzaro, Toscano, Santa Barbara,Casale, Villa Braidi, and Santa Maria, Santa Venera e Santo Stefano.Montalbano Elicona borders the following municipalities: Basicò, Falcone, Floresta, Francavilla di Sicilia, Librizzi, Malvagna, Oliveri, Patti, Raccuja, Roccella Valdemone, San Piero Patti, Santa Domenica Vittoria, Tripi.Crowned from a majestic Castle, encircled from secular forests that they perfume of thousands essences it is one of the antichi and evocative centers of the nebroidea area, rich of stroria, art and traditions. The students from ten years discuss on the origins of the country and of name. Montalbano Elicona derives from the Latin names mons albus with reference to mounts covered with snow or from the Arabic names al bana meaning of "excellent place". During the period of the Greek colonization (VII-VIII sec. B.C.), Dori, thinking to the mythical mount of the Muse, called Helikon the place that coinciding with the rise on which rises the medieval village and a torrent whose tortuous course justifies the name. First news about the existence of the village dates back to the XI century when it was a State possession. In 1232 it revolted against Federick II of Swabia, and supported the Pope together with other centres. Later it has belonged to different feudatories: Lancias in 1396, Romano Colonnas, Bonannos in 1587. It is prevalently an agricultural centre. Products mostly cultivated are grapes, cereals, chestnuts, walnuts, hazel-nuts. Very good are dairying products typical of the place. The tipical gastronomy are "maccheroni stirati a mano" and seasoned with sauce of pork, mutton and goat's meat. More important is the production of sweet whith almond, hazelnut and the typical biscuit of the Easter. The most interesting monuments are the Mother Church , today known as the Basilica Minore and the Church of S. Caterina. Built in Middle Ages, the Church Mother, was refounded and enlarged in 1654 by adding two side aisles and the splendid bell tower. The Church dedicated to San Nicola, the Saint Patron of the town, had a precious statue, built by Gagini in 1587. Neighbouring to castle there is the Church of Santa Caterina. It has a wonderful portal in romantic style. In the interior there is a statue of the Sant made in marble with a bas-relief base. Interesting to see are also some beautiful baroque portals: the Portale di casa Messina-Ballarino, built by Irardi da Napoli in the seventeenth century and the Portale di casa Mastropaolo, built in the eighteenth century by a stone-cutter born in Montalbano Elicona and named Bongiovanni and also the fountain of Gattuso.
Montalbano Elicona è un comune italiano di 2.485 abitanti della provincia di Messina in Sicilia.È caratterizzato dalla presenza, nella parte antica dell'abitato, di un antico Castello che fu residenza estiva di re Federico II di Aragona.La prima parte del nome è un composto di mons (monte) e albanus, da albus, bianco. In specifico, si riferisce all'antico nome del monte su cui fu realizzato un castello per volere di Federico II d'Aragona.Gli studiosi non sono concordi sulle origini del paese e del suo nome. Alcuni fanno risalire tale origine dai nomi latini mons albus con riferimento ai monti innevati, altri al nome arabo al bana, dal suggestivo significato di "luogo eccellente". L'appellativo Elicona risale senz'altro alla colonizzazione greca. Durante il periodo della colonizzazione (VII-VIII secolo a.C.), i Dori, pensando al mitico monte delle Muse, chiamarono Helikon un sito, coincidente con l'altura su cui sorge il borgo medievale ed un torrente vicino il cui andamento tortuoso giustifica l'appellativo.
Le prime testimonianze sull'esistenza del borgo risalgono all'XI secolo, quando risultava possesso demaniale. Nel 1232 si rivoltò contro Federico II di Svevia, parteggiando per il Papa insieme ad altri centri. Successivamente appartenne a diversi feudatari: ai Lancia nel 1396, ai Romano Colonna, ai Bonanno nel 1587.Montalbano Elicona è stato inserito nell'elenco dei 90 borghi medievali più belli d'Italia, cioè nel club de I borghi più belli d'Italia, un'esclusiva associazione di piccoli centri italiani che si distinguono per grande interesse artistico, culturale e storico, per l'armonia del tessuto urbano, vivibilità e servizi ai cittadini. Tra le chiese di interesse artistico certamente è da sottolineare la Basilica di Maria Assunta in cielo (Duomo) con le sue opere d'arte, in particolare quelle del Gagini.
St Faith's church sits charmingly in the picturesque surroundings of Overbury, a handsome building whose various parts span the entire medieval period, from the largely Norman nave to the Perpendicular central tower, of a design and colouring that would make it quite at home in the nearby Cotswolds.
The interior takes a moment to adjust to owing to the low light level, The Norman nave was provided with a row of clerestorey windows on either side which would have improved this situation were it not for the fact the aisle walls and roofs were rebuilt to a higher level in the following centuries. The nave thus is a brooding space from which the lighter 13th century chancel beyond draws the eye, and has the added appeal of a vaulted ceiling, an unusual luxury for a village church. The unusually wide east window is a later insertion to increase the light within.
This is an enjoyable space full of interest with a few particular features worth seeking out, foremost of which is the Norman font which greets the visitor near the south door and is carved with two unidentified figures in relief.
Overbury church was open and welcoming in pre-Covid days and well worth a visit.
For more see the link below:-
www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...
San Gimignano is a small walled medieval hill town in the province of Siena, Tuscany, north-central Italy. Known as the Town of Fine Towers, San Gimignano is famous for its medieval architecture, unique in the preservation of about a dozen of its tower houses, which, with its hilltop setting and encircling walls, form an unforgettable skyline. Within the walls, the well-preserved buildings include notable examples of both Romanesque and Gothic architecture, with outstanding examples of secular buildings as well as churches.
GUM, Glavnyi Universalnyi Magazin; literally "main universal store") is the name of the main department store in many cities of the former Soviet Union, known as State Department Store during Soviet times. It is currently a shopping mall. Prior to the 1920s, the location was known as the Upper Trading Rows.
With the façade extending for 794 ft (242 m) along the eastern side of Red Square, the Upper Trading Rows were built between 1890 and 1893 by Alexander Pomerantsev (responsible for architecture) and Vladimir Shukhov (responsible for engineering). The trapezoidal building features an interesting combination of elements of Russian medieval architecture and a steel framework and glass roof, a similar style to the great 19th-century railway stations of London. William Craft Brumfield described the GUM building as "a tribute both to Shukhov's design and to the technical proficiency of Russian architecture toward the end of the 19th century".[1]
The glass-roofed design made the building unique at the time of construction. The roof, the diameter of which is 46 ft (14 m), looks light, but it is a firm construction made of more than 50,000 metal pods (about 819 short tons, capable of supporting snowfall accumulation. Illumination is provided by huge arched skylights of iron and glass, each weighing some 820 short tons and containing in excess of 20,000 panes of glass. The facade is divided into several horizontal tiers, lined with red Finnish granite, Tarusa marble, and limestone. Each arcade is on three levels, linked by walkways of reinforced concrete.
Catherine II of Russia commissioned Giacomo Quarenghi, a Neoclassical architect from Italy, to design a huge trade center along the east side of Red Square. The existing structure was built to replace the previous trading rows that had been designed by Joseph Bove after the 1812 Fire of Moscow.[2]
By the time of the Russian Revolution of 1917, the building contained some 1,200 stores. After the Revolution, the GUM was nationalised. GUM's stores were used to further Bolshevik goals of rebuilding private enterprise along socialist lines and "democratizing consumption for workers and peasants nationwide". In the end, GUM's efforts to build communism through consumerism were unsuccessful.
GUM continued to be used as a department store until Joseph Stalin converted it into office space in 1928 for the committee in charge of his first Five Year Plan.[2] After the suicide of Stalin's wife Nadezhda in 1932, the GUM was used briefly to display her body.[4]
After reopening as a department store in 1953, the GUM became one of the few stores in the Soviet Union that did not have shortages of consumer goods, and the queues of shoppers were long, often extending entirely across Red Square.[5]
At the end of the Soviet era, GUM was partially, then fully privatized, and it has had a number of owners. As a private shopping mall, it was renamed in such a fashion that it could maintain its old abbreviation and thus still be called GUM. However, the first word Gosudarstvennyi ('state') has been replaced with Glavnyi ('main'), so that GUM is now an abbreviation for "Main Universal Store".Now many of the stores feature fashionable brand names familiar in the West; locals refer to these as the "exhibitions of prices", the joke being that no one could afford actually to buy any of the items displayed.
--Wikipedia
Situated halfway between the start and finish of my morning's bike ride (Wymondham and Norwich) Hethersett was my next natural port of call. (and a welcome one too on a very hot summer day!) The church of St Remigius lies hidden away behind trees off the main road opposite the rest of the village. It is a handsome building whose west tower carries a small lead-covered wooden spike, not enough to call a spire but it punctuates the parapet nicely.
Looking at the exterior it is clear that we are looking at a somewhat restored building of 14th/15th century date but the most jarring detail is the peculiar double pitch of the nave roof; the western two-thirds have a steeper pitch and end abruptly in a wooden gable, the remainder being of a much flatter profile. This is the result of the church having originally been a cruciform building until the eastern parts fell into disuse after the Reformation, with a more basic sanctuary set up at the east end of the nave instead. During the very thorough restoration of the 1870s the entire eastern end was rebuilt (grander than before) and the former crossing and transepts were adapted to form the eastern third of the nave, thus most of the building east of this change in roof-pitch dates from the Victorian period.
Inside the Victorian restoration is quite apparent with the eastern half of the church so renewed and few notable medieval features surviving elsewhere. There are exceptions, the font is old and the north porch has a delightful vaulted ceiling with carved bosses, damaged but still enjoyable. There is also apparently a medieval monument to a 15th century knight and lady but this is alas hidden away behind the organ in a southern extension to the Victorian chancel which visitors cannot access. There are however newer features to enjoy with an interesting mixture of Victorian and later glass, the best being that in the north aisle by Robert Anning Bell, fairly subdued in colouring but beautifully drawn.
Hethersett church was found open and welcoming on my (pre Covid) visit and a welcome haven of peace and cool air after a hot bike ride from Wymondham on a busy main road. For more detail see Simon's description of the church on his Norfolk Churches site below:-
St Matthew's church stands to the west of Ipswich town centre and tends to be one of the lesser known of the medieval churches here, being a little out of the way and normally closed to visitors outside of services. This is a pity as it is actually one of the most rewarding churches here and contains much of interest. It was sheer good fortune that enabled me to see inside here, having heard that it may be possible to get a key or someone to open the church at the parish office over the road I started there, only to find that the usual staff weren't present owing to it being Ascension Day and that being a holiday in the C of E, However at that very moment as luck would have it the vicar arrived and kindly offered to let me in as she was going over to the church anyway, so her timely arrival and generosity were much appreciated!
St Matthew's appears to be mostly of 15th century date externally and is quite a grand, sprawling building with spacious aisles and chapels flanking nave and chancel. Entry is via the west door under the tower, and within the pleasantly light whitewashed interior appears largely Victorian by contrast, but there are a few things here that should be sought out. The windows are full of Victorian and Edwardian glass by a mixture of firms so there is at least variety and the whiteness of the walls helps to counter any gloom these windows might induce.
The outstanding medieval features here are at either end of the north aisle, at the east is a Victorian screen which incorporates at its base several painted panels from the former rood screen, four figures of sainted bishops and two remarkable scenes showing groups of devotees, all dating from the first decades of the 16th century. Of a similar date is the striking font at the west end (sitting beneath a much more recent gilded cover) which is adorned with busy relief carvings around the bowl, six of which include scenes (the remaining two being foliate), one representing Christ's baptism but the rest all feature episodes from the Life of Mary, culminating in images of her Assumption and Coronation as Queen of Heaven, a highly unusual if not unique scheme for a font.
This was perhaps my favourite among the Ipswich churches I was able to visit (I went on to find a few others were locked that day, probably also as a result of marking Ascension Day) and I remain indebted to the Vicar and to Simon Knott who kindly gave me details of where to seek the key and also provides a much fuller account on his website below.
St Matthew's is not normally open outside of service times but visiting the parish office to gain entry is still recommended (on most days other than Ascension Day in May! ;-)
Westminster Abbey is perhaps the most significant church in English History, site of the coronation of monarchs since it was founded by Edward the Confessor, and burial place of the majority of them, along with many other historical figures of note. It is first and foremost a superlative work of medieval architecture, from its soaring 13th-14th century nave, transepts and choir (all in a curiously French inspired version of Decorated Gothic) to the masterpiece of English Perpendicular, the incredibly lacy fan-vaulted Henry VII's chapel at the east end.
The Abbey is also a treasure house of ecclesiastical art, most of it monumental sculpture on the numerous tombs and effigies of almost every date ranging from the entire medieval period through to the 20th century; a somewhat cluttered interior, crammed full of interest, there is simply nothing else quite like it, no other church contains so many monuments.
The Abbey's monastic ranges partially survive, most notably the cloisters and superb chapter house; a short summary of the Abbey's riches is simply impossible. The monastery itself was shut down during the Dissolution, after which the Abbey briefly became a cathedral until its diocesan rank was revoked merely a decade later. Today it is designated a 'Royal Peculiar' owing to its unique status.
The Abbey is a textbook in stone of British history, and thus a hugely popular tourist attraction. It currently has more limited opening hours in the post-Covid recovery period and entry is not cheap, but happily after decades of a strict prohibition against photographers the rules have now been relaxed at last and visitors are now welcome to fully enjoy this marvellous building with their cameras!
For further details (and restrictions) see below:-
Eltham Palace in south east London is the place where high medieval architecture and the art deco styling of the 1930s collide.
www.flickr.com/photos/barryslemmings/sets/72157594230012929/ for the full set.
The site had belonged to Bishop Odo, half brother of William the Conqueror in 1086. Anthony Bek, Bishop of Durham, certainly built a defensive wall around the site in the 1290s. Edward I, Edward II and Edward III all visited or lived here, Bek having given the site to young Edward II. Edward III spent most of his youth here.
The Order of the Garter, Europe's oldest surviving order of chivalry may have been founded here by Edward III in 1348. Later kings added to the site but it was Edward IV who built the magnificent Great Hall in 1470s which can still be seen. It has the third largest hammer beam ceiling in England.
Tudor kings Henry VII and Henry VIII favoured the site for many years as it was one of only six palaces which could house the entire royal court of 800 people. However Eltham was largely replaced by the now lost Greenwich Palace which was nearer the river but still had access to the good hunting around Eltham.
It later became a farm and the Great Hall narrowly avoided demolition in the 19th century.
In the 1930s the lease was acquired by the wealthy Courtauld family who proposed a radical rebuild of the site, which was still owned by the Crown. After some controversy architects John Seely and Paul Paget got the go-ahead in 1933 and work started.
The interior is furnished in the art-deco style and modern features of the new house included a centralised vacuum cleaner system in the basement with outlets in every room, heated towel rails and radios in the staff bedrooms.
The Courtaulds lived in the house from 1936 until 1944. Conservative minister Rab Butler lived at Eltham with the Courtaulds and much of the 1944 Education Act is thought to have been written here.
Although the family still had 88 years left on the lease the Second World War prompted the Courtaulds to leave and the building became the headquarters for the Army Educational Corps from 1945 until 1992. English Heritage had already cared for the Great Hall but took over the whole site in 1995 and began a restoration of the main house which, fortunately, had retained many of its art deco features and interiors.
More fittings and furniture have since been returned to the house - including a table and chairs which were found in the board room and the props department of Pinewood film studios. Stephen Courtauld had been on the board of Ealing Film Studios for 20 years.
St John's sits at the entrance to Spon Street, that rare enclave of medieval architecture in Coventry's mostly post-war city centre. Being on the fringe of city's heart it generally gets less attention from visitors, thus one feels that in any other setting it would be far more celebrated, George Gilbert Scott, who restored the church in 1877, considered it 'one of the most beautiful churches in England'. The church luckily escaped major damage in the November 1940 Blitz that destroyed so much else in the city, beyond the loss of much (but not all) of it's Victorian stained glass.
The church was founded in 1342 by Queen Isabella, mother of Edward III, but most of what we see today is 15th century work, though evidently of different phases. The church sits on a relatively small site, but what it lacks in length and width it gains in height, and with it's tapering and unusually narrow clerestorey windows and central tower it gives the impression of a cathedral in miniature. The tower has oddly corbelled-out turrets at it's corners, an over-exaggeration of the original design by Scott; his main intervention on the exterior otherwise was the renewal of much of the stonework, since warm red sandstone is one of the least resistant to weathering.
The interior is surprisingly light for a sandstone church, the result of the large Perpendicular windows and extensive clerestorey that creates a 'glass cage' effect in the higher parts of the church. It is also rather narrow, which accentuates the proportions and sense of height further, a good example of architectural limitations and constraints turned to an advantage. There are some good medieval carvings surviving higher up, but otherwise aside from the fine Perpendicular architecture itself the impression is largely of early 20th century High Church Anglican worship, as most of the furnishings appear to date from this time, though they are nonetheless attractive and sympathetic to the building.
The lack of any relics of the Middle Ages in wood or glass or monuments of later periods is explained by the history of the church, since it actually ceased to be used for worship in the 1590s and for several centuries suffered various indignities of secular use, such as a prison for Scottish rebels captured after the Battle of Preston during the Civil War in 1648 (these rebels, loyal to the King, were shunned in the Parliamentarian held city, thus the phrase being 'Sent to Coventry' was born!). Other uses included as a stables, a market and a winding and dying house for cloth, before being eventually restored to church use in the 19th century. We should at least be glad that being put to other uses at least preserved the structure through it's centuries of hibernation.
The church posesses an interesting mixture of stained glass, from Victorian and Edwardian pieces that survived the bombing, to the more prominent and colourful windows installed in the 1950s. However it is interesting to note how the postwar glass here predates the nearby Cathedral's windows by only a few years, but is still highly figurative and traditional in approach, thus still a far cry from the revolutionary new works that Coventry became famous for less than a decade later.
St John's is open on saturday mornings but otherwise kept locked owing to concerns over security. Sadly it has suffered attacks from stone-throwing idiots on several occasions in recent years (I have repaired minor damage to several of the windows here) but the parishoners remain welcoming and friendly in spite of a difficult environment. It is a lovely church and well worth a visit.
For more detail and images see it's entry on the Warwickshire Churches website below:-
warwickshirechurches.weebly.com/coventry---st-john-the-ba...
The Avison Ensemble has performed many times at Nicholas Parish Church, Guisborough where we've enjoyed the beautiful medieval architecture and the wonderful acoustic.
We're celebrating our first anniversary of joining Flickr and want to show you the amazing venues we've played and recorded in during the year, most of them in the North East region and some in London. Thanks to all of you who've joined us for concerts in these beautiful venues and for looking at our photos. Here's to another great year coming up of concerts, images and films. Hope to see you soon and look forward to sharing more inspiring images with you ... Our next concert is in Bamburgh Castle and we've included some images of this stunning castle too!
The Avison Ensemble is the outstanding period instrument orchestra based in Newcastle upon Tyne, which plays and popularises the music of Charles Avison (1709-1770) and other English classical composers of the Baroque period, such as Garth, Arne and Herschel. The Ensemble also performs Purcell, Handel, Vivaldi, Corelli, Geminiani, Pergolesi, Teleman, Rameau, Bach, Mozart, Haydn and Beethoven.
"Pfalzgrafenstein Castle is a toll castle on Pfalz Island in the River Rhine near Kaub, Germany. The keep of this island castle, a pentagonal tower with its point upstream, was erected 1326 to 1327 by King Ludwig the Bavarian. Around the tower, a defensive hexagonal wall was built between 1338 to 1340. Later additions were made in 1607 and 1755, consisting of corner turrets, the gun bastion pointing upstream, and the characteristic baroque tower cap.
The castle functioned as a toll-collecting station that was not to be ignored. It worked in concert with Gutenfels Castle and the fortified town of Kaub on the right side of the river. Due to a dangerous cataract on the river's left, about a kilometer upstream, every vessel would have to use the fairway nearer to the right bank, thus floating downstream between the mighty fortress on the vessel's left and the town and castle on its right. A chain across the river drawn between those two fortifications forced ships to submit, and uncooperative traders could be kept in the dungeon until a ransom was delivered. The dungeon was a wooden float in the well.
Unlike the vast majority of Rhine castles, "the Pfalz" was never conquered or destroyed, withstanding not only wars, but also the natural onslaughts of ice and floods by the river. Its Spartan quarters held about twenty men.
A water fort from early 16th century, which underwent many changes, often becoming a wheat silo, later reconstructed into a chateau, only to become a silo again in the 19th Century. The bulding became part of the South Moravian museum in 1972, and a long restoration began. After 1990 a new owner finished the reconstruction, but then went bankrupt and the fort stood empty for many years. Finally a bicycle museum opened in 2018, which is the largest in Europe, and one of the largest in the world.
The magnificent chantry chapel of Prince Arthur at Worcester, a masterpiece of late medieval architecture and sculpture and the last resting place of Henry VIII's elder brother.
Worcester Cathedral is the commanding presence on the skyline of the city, perched on high ground overlooking the River Severn. It is one of England's most rewarding cathedrals, though denied first rank status owing to the heavy handed Victorian restorations it underwent, an unavoidable consequence of being built of soft red sandstone (a problem shared with Chester and Lichfield) and thus a 19th century feel pervades inside and out in it's mostly renewed external stonework and furnishings.
The cathedral impresses with it's scale, one or our longer churches, crowned by a magnificent central tower (originally surmounted by a lead spire, lost sometime after the Refomation; subtle alterations to the tower's design were made when it was refaced in the Victorian restoration) and with a secondary pair of transepts flanking the choir (as at Salisbury, Lincoln, Rochester & Canterbury). Of the former monastic buildings the cloister and Norman chapter house have survived (along with the refectory, now part of neighbouring King's School), making this a more complex and enjoyable building to explore.
The earliest parts are of the Norman period with the superb 12th century crypt under the choir. The west end of the nave is also Norman work, though very late and unusual in design, with transitional pointed arches. However the bulk of the building we see dates from the 13th and 14th centuries, the east end in Early English gothic style (where most of the windows were restored to stepped lancets by Sir George Gilbert Scott during the Victorian restoration, having been altered over the centuries), whilst the remainder of the nave and tower largely of the Decorated period (the cathedral originally also possessed a detached octagonal bell tower with a lead spire, which stood near the north east corner but was demolished in 1647).
Of the original furnishings little remains beyond the fine set of misericords in the choir stalls. The stained glass too is nearly entirely Victorian (only some meagre, much restored medieval fragments survive in traceries of the south aisle). Much of the Victorian glass is quite impressive, particularly the great east and west windows by Hardman's of Birmingham.
Worcester is however especially rich in tombs and monuments of all periods, with medieval effigies of bishops, knights and ladies, not all in good condition but worth seeking out. There are also several large tombs from the post-Reformation period (especially in the cluttered south aisle) and some fine Baroque work in the north transept.
The most significant of the monuments here are Royal; in the centre of the choir lies the fine 13th century effigy of King John, best remembered for signing the Magna Carta. Nearby is the superb chantry chapel of Prince Arthur, elder brother of Henry VIII, whose premature death aged 15 changed England forever (one of the most pivotal moments in our history, had he survived the Reformation may never have happened). The gorgeous late Perpendicular gothic chapel stands to the south of the High Altar and is remarkable for it's rich sculpted detail.
Sculpture from the magnificent chantry chapel of Prince Arthur at Worcester, a masterpiece of late medieval architecture and sculpture and the last resting place of Henry VIII's elder brother.
Unusually, most of the medieval statuary of the chapel has survived both Reformation and Civil War though the main reredos figures have been defaced, though it seems the primary motive here was to remove the extremeties of the sculptures, allowing a flatter surface to board or plaster over! Nonetheless enough survives to give a good indication of their quality.
Worcester Cathedral is the commanding presence on the skyline of the city, perched on high ground overlooking the River Severn. It is one of England's most rewarding cathedrals, though denied first rank status owing to the heavy handed Victorian restorations it underwent, an unavoidable consequence of being built of soft red sandstone (a problem shared with Chester and Lichfield) and thus a 19th century feel pervades inside and out in it's mostly renewed external stonework and furnishings.
The cathedral impresses with it's scale, one or our longer churches, crowned by a magnificent central tower (originally surmounted by a lead spire, lost sometime after the Refomation; subtle alterations to the tower's design were made when it was refaced in the Victorian restoration) and with a secondary pair of transepts flanking the choir (as at Salisbury, Lincoln, Rochester & Canterbury). Of the former monastic buildings the cloister and Norman chapter house have survived (along with the refectory, now part of neighbouring King's School), making this a more complex and enjoyable building to explore.
The earliest parts are of the Norman period with the superb 12th century crypt under the choir. The west end of the nave is also Norman work, though very late and unusual in design, with transitional pointed arches. However the bulk of the building we see dates from the 13th and 14th centuries, the east end in Early English gothic style (where most of the windows were restored to stepped lancets by Sir George Gilbert Scott during the Victorian restoration, having been altered over the centuries), whilst the remainder of the nave and tower largely of the Decorated period (the cathedral originally also possessed a detached octagonal bell tower with a lead spire, which stood near the north east corner but was demolished in 1647).
Of the original furnishings little remains beyond the fine set of misericords in the choir stalls. The stained glass too is nearly entirely Victorian (only some meagre, much restored medieval fragments survive in traceries of the south aisle). Much of the Victorian glass is quite impressive, particularly the great east and west windows by Hardman's of Birmingham.
Worcester is however especially rich in tombs and monuments of all periods, with medieval effigies of bishops, knights and ladies, not all in good condition but worth seeking out. There are also several large tombs from the post-Reformation period (especially in the cluttered south aisle) and some fine Baroque work in the north transept.
The most significant of the monuments here are Royal; in the centre of the choir lies the fine 13th century effigy of King John, best remembered for signing the Magna Carta. Nearby is the superb chantry chapel of Prince Arthur, elder brother of Henry VIII, whose premature death aged 15 changed England forever (one of the most pivotal moments in our history, had he survived the Reformation may never have happened). The gorgeous late Perpendicular gothic chapel stands to the south of the High Altar and is remarkable for it's rich sculpted detail.
Dragon Hall is a Grade 1 listed medieval merchant's trading hall located in King Street, Norwich, Norfolk close to the River Wensum, and since 2015 home to Writers' Centre Norwich. It is thought to be unique in being the only such trading hall in Northern Europe owned by one man. The building stands close to the River Wensum on King Street, the main road through the city in the fifteenth century, with excellent river transport links via Yarmouth to the Low Countries, Flanders and the Germanic states. Dragon Hall is now acknowledged as one of Norwich’s medieval architectural gems and an iconic building in the city.
The Great Hall on the first floor was built in the 15th century, but some parts of the site are much older. Archaeological research shows evidence of a Saxon hut c. 1000 beneath the Hall. On the northern part of the site, in the late 13th century, the Abbey of Woburn in Bedfordshire had a fish processing operation with various outbuildings and a track to a staithe or quay on the River Wensum. There was also a boundary wall with a large brick arch to give access to King Street. In about 1330 an L-shaped domestic 'hall house' owned by John Page, was built on the southern part of the site with an undercroft and an entrance on the south side from Old Barge Yard.
In about 1427 Robert Toppes, a Norwich merchant, re-developed the site as a commercial complex. He built his first floor trading hall on top of part of the 14th century domestic hall house and on top of the existing boundary wall and brick arch. He retained the 14th century entrance to the hall house for his customers. From the entrance passage his customers went up a new staircase to the first floor trading hall. This was a timber construction of seven bays with a crown post roof, decorated with carvings in the spandrels of 14 dragons. The hall was constructed with English oak, using some 1,000 trees. Clearly Toppes wanted to impress his customers. At the rear of the building he created a yard space with access to the river for his imports and exports, a warehouse area under the hall and a new stairway down to the extended undercroft from the yard. Part of the hall house was retained as a ground floor reception area.
Robert Toppes c.1400 - 1467
We do not know Robert Toppes’s origins or exactly when he was born but he became a very successful entrepreneur after he acquired the Dragon Hall site in the 1420s. Toppes exported Norfolk worsted cloth and imported fine textiles, ironware, wines and spices.
His wealth allowed him to rise through the civic ranks and he was an important figure in city politics. He became the City Treasurer at the age of 27, the Sheriff three years later and was elected mayor four times and burgess MP for Norwich four times. He was also involved in two major disturbances in the city, one being over a disputed mayoral election after which he was exiled to Bristol for some weeks; the other was the so-called 'Gladman's Insurrection' when he was indicted in the Kings Bench court.
He was married twice and had eight children. His second wife, Joan Knyvett, belonged to an established gentry family in South Norfolk, closely linked to the famous Paston family. He acquired a large portfolio of properties throughout Norfolk and Suffolk, as well as diversifying into money-lending. By 1450 he was one of the richest men in Norwich. Robert Toppes prepared carefully for the afterlife, paying for a great stained-glass window in Norwich’s largest parish church, St. Peter Mancroft; some of the panels can be seen there today. When he died in 1467, in addition to bequests to all city churches, his will stated that Dragon Hall should be sold to pay for priests to pray for his eternal soul.
1467 to 1960s
When the hall was sold off after Toppes’ death in 1467 it was sub-divided into residential units, initially quite large with chimneys and fireplaces. Then gradually it became sub-divided into smaller, crowded tenements and the three large bay windows were replaced with the doors and sash windows we see today. An attic floor and a new ground floor were also inserted and cellars were dug out beneath. Toppes's trading hall was effectively 'lost' and the building was known as the Old Barge Building, after the pub at the southern end. At the rear of the site and in Old Barge Yard a variety of poor and crowded tenements also grew up. The southern end of the hall became The Old Barge pub and by the 19th century some 150 people were living on the site. In 1937 a Slum Clearance programme removed nearly all the tenements at the rear. By the 1950s at the northern end of the main hall building on the street side there was a butcher's shop; in the central section was a rectory; and at the southern end was the Old Barge pub. In 1954 it was given Listed Building status: Grade 1.
Restoration 1970s to 2006
Following deeper examination by the Norwich Survey, based at UEA, architectural historians and other interested people realised that the building was of great historical importance and a committee was set up to restore the hall. In 1979 the City Council bought the building which was by then uninhabited and a major programme of fund raising, restoration and research began. The Norfolk and Norwich Heritage Trust was formed to run the hall; partition walls, attic floors, chimneys and fireplaces were removed and the hall was restored to something like its original state. In 1986 it was renamed as 'Dragon Hall' and became a heritage attraction, a resource for the local community and an educational centre. In 1997/98 there was a major archaeological investigation of the area behind the Hall. Following a major Heritage Lottery Fund grant in 2005/06, further improvements were made, including the addition of a north wing with displays, a lift, offices, a kitchen and a meeting room and it became a venue for weddings, celebrations, business functions and arts performances, open to the public for four days a week.
Sculpture from the magnificent chantry chapel of Prince Arthur at Worcester, a masterpiece of late medieval architecture and sculpture and the last resting place of Henry VIII's elder brother.
Unusually, most of the medieval statuary of the chapel has survived both Reformation and Civil War though the main reredos figures have been defaced, though it seems the primary motive here was to remove the extremeties of the sculptures, allowing a flatter surface to board or plaster over! Nonetheless enough survives to give a good indication of their quality.
Worcester Cathedral is the commanding presence on the skyline of the city, perched on high ground overlooking the River Severn. It is one of England's most rewarding cathedrals, though denied first rank status owing to the heavy handed Victorian restorations it underwent, an unavoidable consequence of being built of soft red sandstone (a problem shared with Chester and Lichfield) and thus a 19th century feel pervades inside and out in it's mostly renewed external stonework and furnishings.
The cathedral impresses with it's scale, one or our longer churches, crowned by a magnificent central tower (originally surmounted by a lead spire, lost sometime after the Refomation; subtle alterations to the tower's design were made when it was refaced in the Victorian restoration) and with a secondary pair of transepts flanking the choir (as at Salisbury, Lincoln, Rochester & Canterbury). Of the former monastic buildings the cloister and Norman chapter house have survived (along with the refectory, now part of neighbouring King's School), making this a more complex and enjoyable building to explore.
The earliest parts are of the Norman period with the superb 12th century crypt under the choir. The west end of the nave is also Norman work, though very late and unusual in design, with transitional pointed arches. However the bulk of the building we see dates from the 13th and 14th centuries, the east end in Early English gothic style (where most of the windows were restored to stepped lancets by Sir George Gilbert Scott during the Victorian restoration, having been altered over the centuries), whilst the remainder of the nave and tower largely of the Decorated period (the cathedral originally also possessed a detached octagonal bell tower with a lead spire, which stood near the north east corner but was demolished in 1647).
Of the original furnishings little remains beyond the fine set of misericords in the choir stalls. The stained glass too is nearly entirely Victorian (only some meagre, much restored medieval fragments survive in traceries of the south aisle). Much of the Victorian glass is quite impressive, particularly the great east and west windows by Hardman's of Birmingham.
Worcester is however especially rich in tombs and monuments of all periods, with medieval effigies of bishops, knights and ladies, not all in good condition but worth seeking out. There are also several large tombs from the post-Reformation period (especially in the cluttered south aisle) and some fine Baroque work in the north transept.
The most significant of the monuments here are Royal; in the centre of the choir lies the fine 13th century effigy of King John, best remembered for signing the Magna Carta. Nearby is the superb chantry chapel of Prince Arthur, elder brother of Henry VIII, whose premature death aged 15 changed England forever (one of the most pivotal moments in our history, had he survived the Reformation may never have happened). The gorgeous late Perpendicular gothic chapel stands to the south of the High Altar and is remarkable for it's rich sculpted detail.
St Michael's church forms the centrepiece of the delightful Wiltshire village of Aldbourne, seen to best advantage across the open space of the village green.
The building is mostly of 15th century date with a handsome west tower (whose parapet has a shorn-off look owing to the missing or unfinished corner pinnacles). It is made cruciform by the addition of transepts on each side at the end of the nave.
Within the church has a warm feel owing to the coloured limewash finish. It is an interior that invites exploration and has several features of interest in the chancel chapels and transept, with a late medieval tomb bearing an incised figure of a priest and two much more flamboyant family monuments from the post-Reformation period.
Of course many fans of classic Doctor Who will know this church primarily as the one that featured in the story 'The Daemons' when the entire village of Aldbourne was used as the location of the fictional 'Devil's End' (many key scenes were set in the church's crypt, though in reality there is no crypt here. The story ends with the church exploding, so it is reassuring to see it still in such good condition regardless, or else pieced back together extraordinarily well ;-)
Aldbourne church is open and welcoming in normal times and the entire village is worth exploring for its picturesque setting.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14 th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
My visit coincided with the major 'Crucible' exhibition of contemporary sculpture (September-October 2010), examples of which I will upload in due course.
Montalbano Elicona is a comune (municipality) in the Province of Messina in the Italian region Sicily, located about 150 km east of Palermo and about 50 km southwest of Messina. As of 31 December 2004, it had a population of 2,687 and an area of 67.4 km². It is mainly known for the castle built in 1233 by the Emperor Frederic II and the medieval architecture of its streets.The municipality of Montalbano Elicona contains the frazioni (subdivisions, mainly villages and hamlets) Pellizzaro, Toscano, Santa Barbara,Casale, Villa Braidi, and Santa Maria, Santa Venera e Santo Stefano.Montalbano Elicona borders the following municipalities: Basicò, Falcone, Floresta, Francavilla di Sicilia, Librizzi, Malvagna, Oliveri, Patti, Raccuja, Roccella Valdemone, San Piero Patti, Santa Domenica Vittoria, Tripi.Crowned from a majestic Castle, encircled from secular forests that they perfume of thousands essences it is one of the antichi and evocative centers of the nebroidea area, rich of stroria, art and traditions. The students from ten years discuss on the origins of the country and of name. Montalbano Elicona derives from the Latin names mons albus with reference to mounts covered with snow or from the Arabic names al bana meaning of "excellent place". During the period of the Greek colonization (VII-VIII sec. B.C.), Dori, thinking to the mythical mount of the Muse, called Helikon the place that coinciding with the rise on which rises the medieval village and a torrent whose tortuous course justifies the name. First news about the existence of the village dates back to the XI century when it was a State possession. In 1232 it revolted against Federick II of Swabia, and supported the Pope together with other centres. Later it has belonged to different feudatories: Lancias in 1396, Romano Colonnas, Bonannos in 1587. It is prevalently an agricultural centre. Products mostly cultivated are grapes, cereals, chestnuts, walnuts, hazel-nuts. Very good are dairying products typical of the place. The tipical gastronomy are "maccheroni stirati a mano" and seasoned with sauce of pork, mutton and goat's meat. More important is the production of sweet whith almond, hazelnut and the typical biscuit of the Easter. The most interesting monuments are the Mother Church , today known as the Basilica Minore and the Church of S. Caterina. Built in Middle Ages, the Church Mother, was refounded and enlarged in 1654 by adding two side aisles and the splendid bell tower. The Church dedicated to San Nicola, the Saint Patron of the town, had a precious statue, built by Gagini in 1587. Neighbouring to castle there is the Church of Santa Caterina. It has a wonderful portal in romantic style. In the interior there is a statue of the Sant made in marble with a bas-relief base. Interesting to see are also some beautiful baroque portals: the Portale di casa Messina-Ballarino, built by Irardi da Napoli in the seventeenth century and the Portale di casa Mastropaolo, built in the eighteenth century by a stone-cutter born in Montalbano Elicona and named Bongiovanni and also the fountain of Gattuso.
Montalbano Elicona è un comune italiano di 2.485 abitanti della provincia di Messina in Sicilia.È caratterizzato dalla presenza, nella parte antica dell'abitato, di un antico Castello che fu residenza estiva di re Federico II di Aragona.La prima parte del nome è un composto di mons (monte) e albanus, da albus, bianco. In specifico, si riferisce all'antico nome del monte su cui fu realizzato un castello per volere di Federico II d'Aragona.Gli studiosi non sono concordi sulle origini del paese e del suo nome. Alcuni fanno risalire tale origine dai nomi latini mons albus con riferimento ai monti innevati, altri al nome arabo al bana, dal suggestivo significato di "luogo eccellente". L'appellativo Elicona risale senz'altro alla colonizzazione greca. Durante il periodo della colonizzazione (VII-VIII secolo a.C.), i Dori, pensando al mitico monte delle Muse, chiamarono Helikon un sito, coincidente con l'altura su cui sorge il borgo medievale ed un torrente vicino il cui andamento tortuoso giustifica l'appellativo.
Le prime testimonianze sull'esistenza del borgo risalgono all'XI secolo, quando risultava possesso demaniale. Nel 1232 si rivoltò contro Federico II di Svevia, parteggiando per il Papa insieme ad altri centri. Successivamente appartenne a diversi feudatari: ai Lancia nel 1396, ai Romano Colonna, ai Bonanno nel 1587.Montalbano Elicona è stato inserito nell'elenco dei 90 borghi medievali più belli d'Italia, cioè nel club de I borghi più belli d'Italia, un'esclusiva associazione di piccoli centri italiani che si distinguono per grande interesse artistico, culturale e storico, per l'armonia del tessuto urbano, vivibilità e servizi ai cittadini. Tra le chiese di interesse artistico certamente è da sottolineare la Basilica di Maria Assunta in cielo (Duomo) con le sue opere d'arte, in particolare quelle del Gagini.
The 15th century Palace Gate or 'Bishop's Eye' gatehouse in Wells, leading from the Market Place to the Bishop's Palace and southern parts of the Cathedral precinct. The western face is the most elaborate aspect, adorned with three badly weathered statues depicting the Annunciation with Gabriel, Mary and an attendant bishop (a further damaged figure on the eastern face was removed at some point in the 20th century). The battlements of the four turrets were reinstated during a thorough restoration in the late 1980s.
St Michael's at Stanton Harcourt is one of Oxfordshire's most rewarding churches, a real gem full of interest. The building is of largely 13th century dates (with alterations / additions in the following centuries) and retains its original cruciform plan. The latest addition is the Harcourt Chapel on the south side in 15th century Perpendicular, and one of the outstanding features of the church with its fine collection of tombs and monuments of the Harcourt family. The adjoining manor is visible from the churchyard, it's most noticeable feature being the detached 15th century tower situated opposite the west end of the church and thus almost appearing as if it belongs to it.
The church has several important medieval features within, from elements of ancient glass, a substantial part of the former shrine of St Eadburgha, further fine monuments and likley the earliest complete medieval rood screen. There is much to enjoy here and a visit is highly recommended.
The church is normally kept open and welcoming for visitors but the Harcourt Chapel is usually kept locked and visitors will have to be content with peering through the gates to see the tombs. I am extremely grateful to Martin Beek for organising this day and arranging for the chapel to be opened for us, with thanks also to the churchwarden who kindly gave her time for us to explore and photograph the monuments inside.
St Peter's church at Ashby Parva can be a slightly elusive building, hidden as it is amongst the dense foliage of its leafy churchyard (and thus rather difficult to get an external impression of). It consists of a square west tower, an aisleless nave lit by large three-light windows and a chancel rebuilt by the Victorians.
The interior has most of its medieval features aside from the unusually well preserved stairway to the (long vanished) rood-loft on the north side.
An inviting sign on the door attests to the fact the church is normally open and welcoming to visitors.
St Andrew's at Bramfield was one of the highlights of my day, a wonderful and greatly rewarding church with much to enjoy, principally one of the finest medieval rood-screens surviving in the country.
The exterior is distinctive enough with its detached round tower (a Norman structure in flint) whilst the main body of the church has been attractively rendered and limewashed, which may surprise some but was a more common sight in the Middle Ages and an effective way of protecting vulnerable stonework.
Within the church is one long open space divided into nave and chancel without aisles. The rood-screen draws the eye at the end of the nave, it is an exquisite piece of late medieval woodwork with delicate miniature vaults above where the rood-loft would have formerly been located. Even more importantly much of its original colouring survives, and includes five of the original eight painted saints along its base, high quality work of early 16th century date.
Beyond the screen the chancel contains a striking 17th century memorial to the Coke family by Nicholas Stone, with husband kneeling in prayer above and his wife and baby reclining below, a sensitive and touching tribute.
Bramfield is well worth a visit and kept open accordingly for visitors. I was not alone here at the end of my visit as a couple arrived who I was to encounter yet again at two more churches later that day, the churchcrawling circuit in this area is a clearly popular one, and rightly so!
A two-winged gothique fort built around 1425, to replace an older wooden fort destroyed in the Hussite wars. It was originally made of three individual stone buildings connected by a wooden barricade, a renaissance modernization in 1480 connected all parts into one stone fort, the trench and ground wall were eliminated later. The fort was used for many purposes through the centuries, mostly for management of the county and a post office. The state took over in 1948 and the building decayed, many restoration efforts were started but mostly did not help (in 1987 a try to change it into a hotel severely damaged the interior through insensitive modifications). After 1989 the fort had to be returned to heirs of the last owner, but a legal battle lasted for many years and ended in 2010. Today restoration efforts by the newest owner are underway, but the future is unsure.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a separate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
Detail of one of the series of Victorian stained glass windows by Hardman's of Birmingham in the cloisters at Gloucester.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
My visit coincided with the major 'Crucible' exhibition of contemporary sculpture (September-October 2010), examples of which I will upload in due course.
Chester Cathedral is the mother church of the Church of England Diocese of Chester, and is located in the city of Chester, Cheshire, England.
The cathedral, formerly St Werburgh's abbey church of a Benedictine monastery, is dedicated to Christ and the Blessed Virgin Mary. Since 1541 it has been the seat of the Bishop of Chester and centre of worship, administration, ceremony and music for the city and diocese.
The cathedral is a Grade I listed building, and part of a heritage site that also includes the former monastic buildings to the north, also listed Grade I. The cathedral, typical of English cathedrals in having been modified many times, dates from between 1093 and the early 16th century, although the site itself may have been used for Christian worship since Roman times. All the major styles of English medieval architecture, from Norman to Perpendicular, are represented in the present building.
The cathedral and monastic buildings were extensively restored during the 19th century amidst some controversy, and a free-standing bell-tower was added in the 20th century. The buildings are a major tourist attraction in Chester, a city of historic, cultural and architectural importance. In addition to holding services for Christian worship, the cathedral is used as a venue for concerts and exhibitions.
CHESTER CITY CENTRE FEBRUARY 2013
The superb net-vaulting over the choir is studded with gilded roof bosses, mostly of a foliate design except for those over the sanctuary which depict various musician angels surrounding a central figure of Christ.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
Camposanto, Square of Miracles, Pisa, Italy
Pisa Cathedral with Baptistery, Campanile and Campo Santo, together form one of the most famous building groups in the world and are dated from 1063 to 1350.
The Cemetery Camposanto is the last monument on Piazza del Duomo, its long marble wall flanking the northern boundary and completing its shape. It was founded in 1277 to accommodate the graves that until then were scattered all around the Cathedral. Archbishop Federico Visconti wanted the building to be a “large and dignified, secluded and enclosed place”. This is how one of the oldest Christian Medieval architectures for the devotion of the dead came into being.
The frescoes - During the fourteenth century, as the construction took shape, the inner walls were embellished by wonderful frescoes about Life and Death, created by the two great artists of the time, Francesco Traini and Bonamico Buffalmacco, who seem to stage the sermons declaimed in town by the Dominican Cavalca or the frightening views of Dante’s Comedy; reference to it is most evident in the “Triumph of Death” and in the “Last Judgement” painted by Buffalmacco, who is also known as the character of some of Boccaccio’s stories. The cycle of frescoes goes on well into the fourteenth century with the “Stories of Pisan Saints” by Andrea Bonaiuti, Antonio Veneziano and Spinello Aretino and the Stories of the Ancient Testament, started by Taddeo Gaddi and Piero di Puccio and finished in the mid-15th century by the Florentine Benozzo Gozzoli, along the northern wall.
Sepulchral monuments - Since the sixteenth century, the Cemetery has sheltered the sepulchers of the most prestigious lecturers of the local University and the members of the Medici family, who ruled over the city at that time and are also hinted at by the characters of the Biblical scenes frescoed on the shorter walls. The monument was to become the Pantheon of local memories: not only of the local people or families but also of the glorious classical and Medieval past of the city.
The archaeological collection - The building began to be used as a museum, its walls engraved with Roman epigraphs and the sarcophagi relocated to the corridors, acting now as valuables documents of history and art. The use of the building as a museum established itself in the early nineteenth century when the Cemetery became one of Europe’s first public museums. In the years in which Napoleon decreed that many works of art should be taken away from the churches and taken to France, Carlo Lasinio, appointed Curator of the Cemetery by Maria Luisa, Queen of Etruria, collected amidst its frescoed walls the sculptures and paintings that were in the suppressed churches and convents of the city. Other works came from the Cathedral and the Baptistery, along with remains from the local archaeological sites and the antiques markets. In the meantime, commemorative and funerary monuments dedicated to the city notables continued to be built in the corridors that were renamed galleries.
Late 15th century knight's tomb, presumed to be that of Sir William Harcourt.
A familiar landmark in north Birmingham, Aston's parish church of SS Peter & Paul is also the most substantial piece of medieval architecture left anywhere near the city centre, or rather would have been had it not been so completely rebuilt in 1879-90 by J.A.Chatwin (whose work seems synonymous with Birmingham's older churches!), leaving just the 14th century west tower (with it's curiously designed upper stage, adorned with deeply recessed blank arcading) and spire. It is nonetheless a splendid sight in this otherwise not too glamourous area, and Chatwin's work is a solid exercise in neo-Perpendicular, adorned with much fine carved detail and an apse reminiscent of old St Michael's in Coventry.
The interior is most impressive, somewhat dark but richly decorated, with a mixed bag of Victorian glass (Hardman's in the apse, where I was shown the pink giraffe!) and very much of it's time, all under a fine hammerbeam roof, more elaborate over the chancel, as is the stonework generally with dramatic cusped ogee arches providing a setting for some of the many tombs. There are several good medieval monuments with effigies, mostly to the Holte family and the bulk concentrated in the Erdington Chapel on the south side. None are of the highest quality or best condition, but a worthy collection nevertheless. The largest monument is the 1620s Devereux tomb with it's canopy but rather difficult to see in it's somewhat blackened state in a dark corner. There are also many Baroque and later wall tablets adorned with putti etc distributed throughout the aisles.
What would have been the most important piece of stained glass is currently stored in a crate in the north aisle, it is a large single-arched composition by Francis Eginton from 1798 with a female figure ascending to Heaven. It had been originally installed in the Erdington Chapel, but relocated in the Victorian rebuilding and hidden behind the organ for years, until more recently being removed following vandal damage. The church has no funds to restore it with and no space to put it in, but it is clearly an important work that needs to be back on display somewhere, perhaps the City Museum & Art Gallery, since they have an extensive stained glass display?
I'd been intending to visit this church for some time, but had heard it was rather difficult to get inside. I'd phoned the parish office before I left home and a very helpful young lady answered and said it'd be no problem whilst she was around (till 12ish) so I broke my journey to Erdington and made the shortish walk from Aston railway station. After struggling to find which door to knock on she emerged and kindly escorted me through the offices into the church, and after a brief introduction left me to snap away by myself. I'm afraid I got a bit carried away and when nobody arrived at 12 to lock up I pushed my luck and carried on a bit longer, only to find the poor girl was waiting patiently around the corner! I apologised and should add how grateful we should be to such individuals who generously give their time for our enjoyment of the buildings in their care.