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St Mary's sits upon its hillside perch at the aptly named Hill Croome, a village with only a handful of buildings. The church is small but very picturesque with its saddle-backed tower and is approached via a steep upwards path from the road.
The interior remains a mystery to me, I've passed through here a couple of times and tried the door but have always found it locked without a keyholder notice (according to the link below there is one nearby, but it's not advertised!).
www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...
Victorian stained glass in the south aisle by William Warrington 1859.
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.
Painted alabaster wall monument to Edward Holte (d.1592) & his wife Dorothy in the north aisle at Aston.
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.
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...
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 next.
Naseby church is a handsome sight with its soaring western steeple proudly asserting its presence from afar. The church is mainly 14th century in date and constructed of beautifully coloured local ironstone. Its most handsome feature is the tall west tower with its twin bell-openings and a richly crocketed spire in contrasting limestone rising above.
I have been in Naseby church at least twice over the years as it is normally kept open and welcoming. However I was out of luck on this occasion as it was nearly 6pm when even the most visitor-friendly church will have likely locked up so interior photos will have to await another visit.
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.
The grandest village church in south Nottinghamshire, St Mary's church dominates the centre of the quirkily named village of Bunny, its tapering spire crowning a tall west tower making the building very much the local landmark (along with the curious tower of the nearby hall). It is a building of considerable length, both the aisled nave and the chancel seem are of impressive dimensions. Much of it appears to be of 14th century date, though later interventions are indicated here and there, such as the strangey domestic-looking east window of the chancel that must have been a 17th century alteration. The south porch is remarkable inside for its corbelled stone roof, a most unusual feature that gives it an almost fortified appearance.
The interior seems almost as broad as it is long, the aisled nave has been scraped of its plaster-finish in the Victorian period and is now in marked contrast to the chancel beyond where the walls are still white-rendered and the windows mostly plain glazed, making it a much brighter space. There are a few monuments to members of the Parkyns family but none compete with the largest and most famous of them which is now located in the north aisle (originally in the chancel) and uniquely depicts a over-large figure of Sir Thomas Parkyns in an aggressive wrestling pose balanced by a much smaller figure of his eventual defeat by Old Father Time.
Bunny church is normally kept locked outside of service times though may have limited open hours on certain days, but it is best to check ahead or make arrangements if travelling to see it. For more see its article on the highly commendable diocesan website below:-
Bilton lies immediately west of Rugby and though originally a rural village it is now very much a suburb of the town. It still however retains some of its village character and its ancient parish church of St Mark is happily set away from the busy roads in a more peaceful enclave, its spire and tower emerging from the dense surrounding foliage to announce its presence.
St Mark's church dates back to the mid 14th century and is a good example of the Decorated style with its large windows adorned with flowing tracery. All of the surviving medieval work dates from this phase (there were doubtless earlier buildings on the site that were in turn replaced) and the tower and spire have remained unaltered ever since. The body of the church however has seen some dramatic alterations since it originally only consisted of an aisle-less nave and chancel.
The first major intervention came in 1873 when G.F.Bodley restored the church (the chancel adornments and east window are of this time) and extended it by adding the present north aisle. The second major extension came as recently as 1962 when the south aisle was added to balance that on the north, greatly increasing the interior space. On both occasions the work was done very sensitively by simply dismantling the medieval nave walls and re-assembling them further outwards to create the aisles, so that technically only their end walls are new work (along with the roofs and arcades within), thus one could be forgiven for inspecting the exterior with its ancient stonework and not suspecting any enlargement had taken place (I'd known the church for years having grown up locally, but only recently found out parts of it are only twelve years older than I am!).
The interior is now more open and spacious than it ever was before, the new south aisle being particularly light and pleasant within. Few will notice that the three-bay nave arcades aren't ancient, as Bodley's work on the north ably mimics medieval work and the newer arches on the south side imitate them (a rare example of church architecture of this period being so sensitive, trying so hard to subtly fit in with earlier work). The chancel beyond is more richly furnished with fine stalls and a handsome organ case from one of the Cambridge colleges, redecorated with gilding and Bodley's stenciling on the wall around it. There are several stained glass windows of varying dates and styles from the Victorian period but the real treasures here are the surviving fragments of the church's original 14th century glass, collected mostly into the north chancel window (a few more are set high up in the east window of the north aisle). Most of what remains is a jumble of fragments (with a few deceptive Victorian heads thrown into the mix) along with some reset heraldic tracery lights, but the tiny scene of a man about to slaughter a pig at the lower right corner ('December' from a series of the medieval 'Labours of the Months') is a real gem.
Years ago St Mark's church used to be open more regularly, but these days is normally only open for services, so one is best advised to make prior arrangements to see inside or visit after a service as I did on this occasion (many thanks to Reverend Tim for staying on slightly longer before locking up to allow me a little more time to finish).
Bern in German Bern, in French Berne, in Italian and Roman Bern, in German Berne Bärn is the federal city (Bundesstadt) and de facto capital of Switzerland. It is also the capital of the canton of the same name.
In June 2014 it had a population of 138,410 inhabitants. The agglomeration of Bern, which includes 43 municipalities, has a population (2011) of approximately 355,600 people. The metropolitan area of Bern, which in the year 2000 included 123 communes, had 660 237 inhabitants.
The Aare River runs through the city. The old city of Bern is inscribed on the Unesco World Heritage List since 1983, thanks to its medieval architecture preserved over the centuries. The official language in Berne is German, although the most spoken language is Bernese German, a dialect of the Germanic alto.
According to the Mercer Quality of Life Survey 2011, Bern is the ninth city in the world with the best quality of life.5 The city ranked sixth among the cities with the best quality of life in the world in 2003 and the ninth in 2009.6
Etymology
The etymology of Bern (Bern) is uncertain. According to the local legend, based on the popular etymology, Duke Bertoldo V de Zähringen, founder of the city, promised that he would give his name in agreement with the first animal that he found in the hunt in which he was going to participate, and the first animal that he saw was a bear (Bär in German).
For a long time it was felt that the city received its name from the Italian city of Verona, which was known as «Bern» in Middle High German. In the 1980s a zinc plate was found, known as Bern's zinc plate, it had already become the oldest theory that the city had received its name from a pre-existing toponym of Celtic origin, possibly * berna «crack or divide ».7
The bear has been the heraldic animal in the coat of arms of Bern since the 1220s. The first reference that speaks of living bears in the future of the years or Bärengraben, near the Nidegg bridge, dates from the 1440s.
Geography
Bern is geographically located in the Mittelland area, on the Swiss plateau. The city was limited to its historical center enclosed by a meander of the Aar and the city walls until 1834. With the opening of the walls and the construction of bridges to cross the river, the city expanded in all directions. The city is bordered to the north by the communities of Frauenkappelen, Wohlen bei Bern, Kirchlindach, Bremgarten bei Bern, Zollikofen and Ittigen, to the east with Ostermundigen and Muri bei Bern, to the south with Köniz and Neuenegg, and to the west with Mühleberg and is located in the administrative district of Bern-Mittelland.
The commune is divided into six Stadtteile (districts), in turn subdivided into Quartiere ('barrios'). The districts of Bern are: Engeried, Felsenau, Neufeld, Länggasse, Stadtbach, Muesmatt, Holligen, Weissenstein, Mattenhof, Monbijou, Weissenbühl, Sandrain, Kirchenfeld, Brunnadern, Murifeld, Schosshalde, Beundenfeld, Altenberg, Spitalacker, Breitfeld, Breitenrain, Lorraine, Bümpliz, Oberbottigen, Stöckacker, Bethlehem.
The strong population concentrations of the central districts and of Bümpliz-Belén are counteracted, to the west of the communal territory, by rural areas and large forest areas (forests of Bremgarten and Könizberg).
Berne is the center of a growing agglomeration, consisting of 34 communes (1990), from Schalunen in the north to Wichtrach in the Aar Valley and Kaufdorf in the Güebe Valley, from Wünnewil-Flamatt (FR) in the southwest to Worb in the east Bern is a regional educational, cultural and health center.
Extracted from Wikipedia
Berna en alemán Berna, en francés Berna, en italiano y romano Berna, en alemán Berna Bärn es la ciudad federal (Bundesstadt) y capital de facto de Suiza. También es la capital del cantón homónimo.
En junio de 2014 tenía una población de 138,410 habitantes. La aglomeración de Berna, que incluye 43 municipios, tiene una población (2011) de aproximadamente 355.600 personas. El área metropolitana de Berna, que en el año 2000 incluía 123 comunas, tenía 660 237 habitantes.
El río Aare atraviesa la ciudad. La ciudad vieja de Berna está inscrita en la Lista del Patrimonio Mundial de la Unesco desde 1983, gracias a su arquitectura medieval conservada a lo largo de los siglos. El idioma oficial en Berna es el alemán, aunque el idioma más hablado es el alemán bernés, un dialecto del alto germánico.
Según la Encuesta de calidad de vida de Mercer 2011, Berna es la novena ciudad del mundo con la mejor calidad de vida.5 La ciudad ocupó el sexto lugar entre las ciudades con la mejor calidad de vida del mundo en 2003 y la novena en 2009.6
Etimología
La etimología de Berna (Berna) es incierta. Según la leyenda local, basada en la etimología popular, el duque Bertoldo V de Zähringen, fundador de la ciudad, prometió que daría su nombre de acuerdo con el primer animal que encontrara en la caza en la que iba a participar, y el primer animal que vio fue un oso (Bär en alemán).
Durante mucho tiempo se sintió que la ciudad recibió su nombre de la ciudad italiana de Verona, que era conocida como «Berna» en el alto alemán medio. En la década de 1980 se encontró una placa de zinc, conocida como la placa de zinc de Berna, ya se había convertido en la teoría más vieja que la ciudad había recibido su nombre de un topónimo preexistente de origen celta, posiblemente * berna «crack o dividir ».7
El oso ha sido el animal heráldico en el escudo de armas de Berna desde la década de 1220. La primera referencia que habla de osos vivos en el futuro de los años o Bärengraben, cerca del puente Nidegg, data de la década de 1440.
Geografía
Berna se encuentra geográficamente en el área de Mittelland, en la meseta suiza. La ciudad se limitó a su centro histórico encerrado por un meandro del Aar y las murallas de la ciudad hasta 1834. Con la apertura de las murallas y la construcción de puentes para cruzar el río, la ciudad se expandió en todas las direcciones. La ciudad limita al norte con las comunidades de Frauenkappelen, Wohlen bei Bern, Kirchlindach, Bremgarten bei Bern, Zollikofen e Ittigen, al este con Ostermundigen y Muri bei Bern, al sur con Köniz y Neuenegg, y al oeste con Mühleberg y se encuentra en el distrito administrativo de Bern-Mittelland.
La comuna se divide en seis Stadtteile (distritos), a su vez subdivididos en Quartiere ('barrios'). Los distritos de Berna son: Engeried, Felsenau, Neufeld, Länggasse, Stadtbach, Muesmatt, Holligen, Weissenstein, Mattenhof, Monbijou, Weissenbühl, Sandrain, Kirchenfeld, Brunnadern, Murifeld, Schosshalde, Beundenfeld, Altenberg, Spitalacker, Breitfeld, Breitenrain, Lorraine, Bümpliz, Oberbottigen, Stöckacker, Belén.
Las fuertes concentraciones de población de los distritos centrales y de Bümpliz-Belén son contrarrestadas, al oeste del territorio comunal, por áreas rurales y grandes áreas forestales (bosques de Bremgarten y Könizberg).
Berna es el centro de una aglomeración creciente, que consta de 34 comunas (1990), desde Schalunen en el norte hasta Wichtrach en el Valle de Aar y Kaufdorf en el Valle de Güebe, desde Wünnewil-Flamatt (FR) en el suroeste hasta Worb en el este Berna es un centro educativo, cultural y de salud regional.
Extraído de Wikipedia
Tomar, Portugal.
The 12th century Round Church built by the Templars is seen here.
The convent was founded by the Order of Poor Knights of the Temple (or Templar Knights) in 1118. Its construction continued until the final part of the 12th century with the construction of the oratory, in one of the angles of the castle, completed some time around 1160. Around 1190 it was encircled and resisted the armies of caliph Abu Yusuf al-Mansur who was successful in taking strongholds in the south.
During the second quarter of the 13th century, Tomar was transferred into the control of the Templars, becoming its seat. The castle became an integral part of the defense system created by the Templars to secure the border of the young Christian Kingdom against the Moors, which at the time occupied the area to approximately the Tagus River. But, following the dissolution of the Templar Order, on 14 March 1319, and following the request of King Denis of Portugal, Pope John XXII instituted the Order of Christ. The seat of the former Knights Templar was converted in 1357 into the seat of this new order.
The famous round church (rotunda) of the castle of Tomar was also built in the second half of the 12th century. The church, like some other templar churches throughout Europe, was modelled after the Dome of the Rock in Jerusalem, which was believed by the crusaders to be a remnant of the Temple of Solomon. The Church of the Holy Sepulchre of Jerusalem may also have served as model.
Following the dissolution of the Templar Order, in 1319 (following the request of King Denis of Portugal), Pope John XXII instituted the Order of Christ. The Templar order had been suppressed during most of Europe from 1312 to 1314, but in Portugal its members, assets, and partly its membership were transferred to the Order of Christ. The seat of the former Knights Templar was converted in 1357 into the seat of this new order. As a result, at about the first half of the 15th century, work was completed to adapt the Templar oratory, introducing an open choir to the western niche, about half-way up the wall. What remains of this adaptation was the colonnade frame with interior arch.[1] At the same time the main palace was constructed.
During the internship of Prince Henry the Navigator as its leader (1417–1450), the Order of Christ initiated the construction of two cloisters. Prior to these large works, Henry began work on constructing the Chapel of São Jorge sometime in 1426 and was responsible for urban improvements in the town of Tomar.
In 1484, King D. Manuel (who became Master of the Order in 1484 and King of Portugal in 1495) ordered the construction of a sacristy (today the Hall of Passage), that connected the choir to the Chapel of São Jorge, linking the choir with the wall of the stronghouse. By the end of the century the convent's chapterhouse, main altar, ironworks for the niche/archway, paintings and sculptures and the choir were all expanded or remodeled.
The successor of Manuel I, King John III, demilitarized the order, turning it into a more religious order. He also ordered the construction of a new cloister in 1557, which is one of the best examples of Renaissance architecture in Portugal.
In 1581, after a succession crisis, the Portuguese Nobility gathered in the Convent of Christ in Tomar and officially recognized Philip II of Spain (Philip I of Portugal) as King. This is the beginning of the Iberian Union (1581–1640), during which the Crowns of Portugal and Spain were united in a dynastic union. The aqueduct of the Convent was built during this period and completed in 1614.
The castle and Convent of Christ have examples of Romanesque, Gothic, Manueline and Renaissance architectural styles."
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 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.
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.
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 Martin's at Welton sits on high ground in the hilly terrain of west Northamptonshire, its churchyard sloping downwards dramatically to the south. Its warm ironstone hue is typical of this county and a feature I've always admired, enlivening the exterior with its box-like 14th century square tower. The aisle walls are punctuated by fine Perpendicular traceried windows betraying much 15th century remodeling here also. Though a porch is provided on the south side entry normally seems to be by the unsheltered north door as this faces the greater part of the village.
Ironstone churches can at times have oppressively dark interiors but that thankfully isn't the case here as the large windows admit generous amounts of light and the walls of the aisles and chancel are limewashed within. The eye is drawn to the chancel which is a much lighter space and the only part of the church with significant Victorian glass (two of the side windows appear to have had their stained glass removed in the postwar period to brighten up the sanctuary area). There are a few wall mounted memorials here and in the aisles of passing interest and an early head corbel at the west end of the nave. The more modern organ-case in the south aisle is an attractively ornate affair.
Welton church appears to be normally kept open for visitors, this being my second visit (and the first name in their visitor book this year). My first visit was back in my teens long ago when I hitched a lift on the back of my sister's motorbike; I barely noticed the hills on that occasion, this time arriving as an unfit cyclist was much harder work!
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.
Victorian stained glass in the south aisle by Clayton & Bell, 1859.
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.
Westminster Abbey, 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 curiously French inspired version of Decorated Gothic) to the masterpiece of English Perpendiculatr, 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.
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. Visitors are welcome most days provided they can afford the hefty fee and abide by the strict ban on photography (if ever there was a church to take photos in it's this one, which makes the prohibition all the more painful). I managed a few internal shots in the happier times of the mid-1990s when it was briefly permitted on summer Wednesdays after 6pm.
North chapel window by George Cooper Abbs of Exeter, 1960.
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...
This is an entry into the CCCX Medieval Architectural Detail category:
THE PORTAL OF LOST SOULS
This side entrance into the Cape Condice Cathedral (CCC) was comissioned by the administrators of a new movement who wanted to help those who could not help themselves. They comissioned Shmailardo, architect to the kings, to create a symbol of the new movement. It has been a shining example of Medieval Architecture ever since.
Enjoy!
Of all the churches I planned to see on this excursion this was the one that I was the most excited about, not only is Blythburgh one of Suffolk's finest but among the best and grandest parish churches in the country, all the more surprising in this rural location. I'd known about it for decades, so it was most satisfying to finally get to see it for myself.
Holy Trinity at Blythburgh dates mostly from the 15th century, a grand essay in the Perpendicular Gothic style. The first impression is of flint walls punctuated by a mass of windows, especially in the clerestorey above, along with the building's great size and length. The is much ornamental carving around the windows and parapet, most strikingly the carved figures that stand in place of pinnacles. The tower by contrast appears rather plain, a stern sentinel watching over the building; this is in part due to storm damage in 1577 which brought down the steeple and is likely when the belfry windows lost their tracery and received their current boarded-over appearance. The south porch below makes a grand statement and beckons us to enter, noting the unusual survival of a water-stoup.
Inside a vast space is revealed, well lit by mostly clear-glazed windows and and filled with ancient woodwork. Not only is this church beautiful it is also delightfully authentic, having undergone little restoration over the centuries (it must have been a heavy burden for such a small community) and thus is a place of real ageless atmosphere, most of the furnishings are pre-Victorian and the only coloured glass is the collection of medieval fragments in the traceries of a few windows.
The most impressive feature is the roof, retaining much of its original painted decoration and angel figures down the centre, also retaining much colour. This feature was familiar to me from so many photos in books, but in finally seeing it with my own eyes it lost none of its impact. It extends almost the full length of the building as there is little structural division between nave and chancel.
After absorbing the beauties above attention should go to the riot of medieval carving at ground level, where all the nave pews retain their 15th century bench-ends with figurative carvings, some with subjects from the Acts of Mercy and Seven Deadly Sins, not all in great condition but a remarkable survival nonetheless. In the chancel the stall fronts bear surprisingly well preserved rows of carved canopied apostles, not necessarily in situ as much of the woodwork looks reconstructed but the figures themselves appear to be rare medieval survivals.
This is a church to spend some time in and soak up its special atmosphere. Being on a bit of a mission that day I didn't have time to sit peacefully as one should, but it was the longest stop on my itinerary, and one of the most rewarding, I'd happily return.
This is one of the 'must see' churches of Suffolk and is always open and welcoming by day accordingly. For the third time that day I met a couple doing a similar excursion to me and we briefly chatted about what a joy it is to visit, I urge others to do likewise.
North chapel window by George Cooper Abbs of Exeter, 1960.
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...
Formerly the abbey church of a Benedictine monastery dedicated to St Werburgh, since 1541 it has been the seat of the Bishop of Chester and now dedicated to Christ and the Blessed Virgin Mary.
The building dates from between 1093 and the early 1500s, although the site may have been used for Christian worship since Roman times.
All the major styles of English medieval architecture, from Norman to Perpendicular, are present in the building.
Chester Cathedral is a Grade I listed building.
The cloisters
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.
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.
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.
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.
Where does one start with Stowlangtoft? It was another name I'd seen for years on road-signs while visiting relatives in the area, a name that always stood out and yet we never came here. I had for some time known there were good things in the church here, but the opportunity to explore them failed to materialise, until now.
St George's church sits on high ground overlooking the main road through the village, a commanding presence rising from the surrounding trees, the tower with its squared off parapet looking a little dour compared to some of the more delicately designed Suffolk towers, but this is a handsome edifice nonetheless, built on a grand scale and all of a piece 15th century Perpendicular, though the windows are strangely narrow for the period, more concerned with height than width, much like the building itself which lacks side aisles, (which never seem to have been intended, this impressive mass was considered complete as it is).
As the church is little used now and generally kept locked it is necessary to seek out the key nearby and then enter by the priest's door on the south side of the chancel. This reveals the tall and narrow space within from the altar end, and transports one immediately into the midst of the finest carved woodwork in the church. The glass in the windows gives the interior a rather Victorian atmosphere, but this is soon forgotten when one focuses on the extensive late medieval furnishings which are the glory of this church; the nave pews are richly carved with all sorts of fantastical creatures on the bench ends, whilst in the chancel are the stalls with their reading desks and a set of six of the finest quality misericords to be seen anywhere in the country. Most of this appears to date from the last decades of the 15th century but some of the carvings seem to betray an origin in the early decades of the following century. This is a fascinating collection of carvings which kept me occupied for some time.
In the chancel is another late medieval treasure but not an indigenous one, a set of exquisite Flemish carvings depicting scenes from Christ's Passion that were given to the church in more recent years and incorporated into the paneling around the high altar (flanking the rather stodgy Victorian reredos). At the west end of the nave is the churches oldest feature, the 14th century font, the last relic of the previous church here.
Stowlangtoft church is usually kept locked so keyholder details are given, but fear not for they are friendly and live just over the road. Anyone planning to visit here should allow plenty of time (especially if like me they enjoy the carved wooden beasties of East Anglian bench ends as this church is full of them!). I had a more ambitious itinerary planned for this day, but having spent so long here I didn't get around to seeing some of my later targets (or they too were locked by the time I did). It was time well spent though, as this was easily the biggest highlight of the day.
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 next.
A preserved castle first mentioned in 1382. It evaded damage through history, and even larger reconstructions, just minor modifications have been done and the look didn´t change from early 18th Century. It was in hands of one noble family from 1474, and was protected even after 1948 when it was seized by communists. It served as a central repository for inventory from other castles, and was very well repaired. It was returned to original owners after 1989, today it´s a private residence and inacessible to the public.
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:-
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.
www.gloucestercathedral.org.uk/
My visit coincided with the major 'Crucible' exhibition of contemporary sculpture (September-October 2010), examples of which I will upload in due course.
Window by Burlison & Grylls c1910 in the north aisle. The arms commemorate Edward the Black Prince, one of the founders of the church in 1342, flanked by St John the Baptist and the Trinity.
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...
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.
Window by Burlison & Grylls c1910 in the north aisle. The arms commemorate Queen Isabella who founded the church in 1342, flanked by Our Lady of the Assumption and St Catherine.
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...
Alabaster tomb of Sir Thomas Erdington (d.1433) & his wife Joan or Anne Harcourt (d.1417). The tomb itself dates from c1460, probably erected by the couple's son.
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.
St Lawrence's in Ludlow could easily claim to be the grandest parish church in Shropshire but also one of the very finest and most rewarding medieval churches in the country. It is a very large cruciform building dating mostly to the 14th & 15th centuries crowned by a soaring central tower that is a major landmark of the town. The red sandstone exterior however is otherwise somewhat elusive, being hemmed in by buildings in close proximity and thus difficult to get an overall shot of as a complete building.
The church is entered via an unusual hexagonal porch on the south side which admits access to the spacious nave and aisles. The crossing beyond is tall and narrow and adds a cathedral-like dimension to the interior, with views into the lower lantern-stage of the tower above. The chancel beyond is similarly impressive in scale and adornment with a fine 15th century wooden roof and much more.
St Lawrence's is especially famous for its interior fittings, most of all the superb medieval choir stalls with one of the best collections of misericord carvings anywhere. Less well known but equally important is the extensive collection of medieval stained glass in the eastern half of the church. Most of the glass in the chancel has either been very heavily restored or replaced entirely in replica by early 19th century restorers, but the glass in the north chapel is much more complete and despite some restoration largely retains its original appearance.
There are several notable tombs and monuments here also, including the heart burial of Henry VIII's older brother Prince Arthur (whose untimely death in Ludlow dramatically changed our history forever).
St Lawrence's is normally open to visitors on a daily basis and shouldn't be missed. The tower may also be ascended for some fine views over the town of Ludlow and beyond.
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.
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.
A wonderful old church well worth exploring but less well known on the edge of suburban Rugby, I've known this church for years having grown up in the area, it was one of the first ancient churches I ever experienced as a child and it left a lasting impression.
Despite serving what is now a large suburb of Rugby the church retains a country feel, being cut off from the town by the main line between Birmingham and London, meaning it is completely invisible from Hillmorton itself. Normal approach is thus bizarrely through a tunnel under the railway line that leads to the churchyard!
It's a mainly 13th/14th century building, the west tower is of a rich red sandstone whilst the body of the building has been patched up at various dates giving it an attractive unrestored patina. Inside is equally unspoilt, retaining a late Georgian feel with it's furnishings, Royal Arms and whitewashed walls (though oddly just chancel and south aisle have been scraped). Victorian glass is confined to two south aisle windows (including one strange piecemeal affair) and a single light in the chancel; the main east window with it's intersecting tracery is left plain.
The main items of interest here are the monuments, three medieval tombs and an elegant brass of a lady. Of the effigies the best is the early 14th century lady in the south aisle with wimple and canopy over her head. The nearby knight is more damaged whilst the 13th century priest under an arch in the north aisle (almost hidden behind benches) is badly mutilated.
This church is happily more accessible than it used to be and is normally kept open for visitors during the day.
Localizado no centro histórico de Cáceres, Património da Humanidade pela UNESCO, o Palácio de los Cáceres-Ovando, ou Palácio das Cegonhas, ergue-se como testemunho da história da cidade. Construído no século XV por Diego de Cáceres Ovando, sobre uma antiga fortaleza muçulmana, o palácio destaca-se pela sua torre, a única que escapou à ordem de demolição imposta pela Rainha Isabel a Católica, em virtude da lealdade de Diego de Ovando durante a Guerra de Sucessão Castelhana. Com mais de 30 metros, a torre domina o centro antigo, ostentando ameias quadrangulares típicas da arquitetura medieval. A fachada, de estilo gótico, exibe um portal de arco de meio ponto e uma janela conopial, ladeada pelos brasões das famílias Ovando e Mogollón. O interior alberga um pátio com colunas. Atualmente sede da Comandância Militar de Cáceres, o palácio combina elementos defensivos com ornamentação renascentista, perpetuando o seu papel institucional no coração da cidade.
Located in the historic center of Cáceres, a UNESCO World Heritage Site, the Palácio de los Cáceres-Ovando, or Palácio das Cegonhas, stands as a testament to the city's history. Built in the 15th century by Diego de Cáceres Ovando on the site of an ancient Muslim fortress, the palace is notable for its tower, the only one that escaped the demolition order imposed by Queen Isabella the Catholic, due to Diego de Ovando's loyalty during the War of the Castilian Succession. Over 30 meters high, the tower dominates the old center, boasting square battlements typical of medieval architecture. The Gothic-style façade features a semicircular arch portal and an ogee window, flanked by the coats of arms of the Ovando and Mogollón families. The interior houses a courtyard with columns. Currently the headquarters of the Military Command of Cáceres, the palace combines defensive elements with Renaissance ornamentation, perpetuating its institutional role in the heart of the city.