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itself was shut down during the Dissolution, after which the Abbey briefly became a cathedral until its diocesan rank was revoked merely a decade later.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:-

www.westminster-abbey.org/visit-us/photography-in-the-abbey

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.

Deventer

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...

The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.

Author: Andreas Nierhaus, Curator of Architecture/Wien Museum

Last updated January 2014

Architecture in Vienna

Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.

Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.

Culmination of medieval architecture: the Stephansdom

The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.

The baroque residence

Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.

Upgrading into metropolis: the ring road time (Ringstraßenzeit)

Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.

Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.

Laboratory of modernity: Vienna around 1900

Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made ​​the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.

With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).

Between the Wars: International Modern Age and social housing

After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.

Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.

Expulsion, war and reconstruction

After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made ​​of solid reinforced concrete which today are present as memorials in the cityscape.

The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).

The youngsters come

Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) ​​by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.

MuseumQuarter and Gasometer

Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.

The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.

New Neighborhood

In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of ​​the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.

In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).

Flying high

International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.

Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.

Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.

Sculpture from the magnificent chantry chapel of Prince Arthur at Worcester, a masterpiece of late medieval architecture and sculpture and the last resting place of Henry VIII's elder brother.

Unusually, most of the medieval statuary of the chapel has survived both Reformation and Civil War though the main reredos figures have been defaced, though it seems the primary motive here was to remove the extremeties of the sculptures, allowing a flatter surface to board or plaster over! Nonetheless enough survives to give a good indication of their quality.

Worcester Cathedral is the commanding presence on the skyline of the city, perched on high ground overlooking the River Severn. It is one of England's most rewarding cathedrals, though denied first rank status owing to the heavy handed Victorian restorations it underwent, an unavoidable consequence of being built of soft red sandstone (a problem shared with Chester and Lichfield) and thus a 19th century feel pervades inside and out in it's mostly renewed external stonework and furnishings.

The cathedral impresses with it's scale, one or our longer churches, crowned by a magnificent central tower (originally surmounted by a lead spire, lost sometime after the Refomation; subtle alterations to the tower's design were made when it was refaced in the Victorian restoration) and with a secondary pair of transepts flanking the choir (as at Salisbury, Lincoln, Rochester & Canterbury). Of the former monastic buildings the cloister and Norman chapter house have survived (along with the refectory, now part of neighbouring King's School), making this a more complex and enjoyable building to explore.

The earliest parts are of the Norman period with the superb 12th century crypt under the choir. The west end of the nave is also Norman work, though very late and unusual in design, with transitional pointed arches. However the bulk of the building we see dates from the 13th and 14th centuries, the east end in Early English gothic style (where most of the windows were restored to stepped lancets by Sir George Gilbert Scott during the Victorian restoration, having been altered over the centuries), whilst the remainder of the nave and tower largely of the Decorated period (the cathedral originally also possessed a detached octagonal bell tower with a lead spire, which stood near the north east corner but was demolished in 1647).

Of the original furnishings little remains beyond the fine set of misericords in the choir stalls. The stained glass too is nearly entirely Victorian (only some meagre, much restored medieval fragments survive in traceries of the south aisle). Much of the Victorian glass is quite impressive, particularly the great east and west windows by Hardman's of Birmingham.

Worcester is however especially rich in tombs and monuments of all periods, with medieval effigies of bishops, knights and ladies, not all in good condition but worth seeking out. There are also several large tombs from the post-Reformation period (especially in the cluttered south aisle) and some fine Baroque work in the north transept.

The most significant of the monuments here are Royal; in the centre of the choir lies the fine 13th century effigy of King John, best remembered for signing the Magna Carta. Nearby is the superb chantry chapel of Prince Arthur, elder brother of Henry VIII, whose premature death aged 15 changed England forever (one of the most pivotal moments in our history, had he survived the Reformation may never have happened). The gorgeous late Perpendicular gothic chapel stands to the south of the High Altar and is remarkable for it's rich sculpted detail.

www.worcestercathedral.co.uk/

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.

Canon 700D

24mm

f2.8

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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.

www.gloucestercathedral.org.uk/plan-your-visit

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 Mary's church in the attractive town of Hadleigh didn't look like I expected to, being one of those few Suffolk churches still crowned by its medieval spire (in lead-covered wood, the only full size one left in the county), handsome but rather atypical of the area and therefore a surprise. It is also a very grand building and quite a contrast to the more intimate buildings we had visited immediately before our arrival here. Opposite the west end of the church is the even more striking Tudor brick gatehouse of the former Hadleigh Deanery, its twin turrets forming a most pleasing ensemble with the church's leaden spire.

This is one of Suffolk's largest parish churches, all the more so as both nave and chancel are embraced by aisles on either side, adding so much more to the building's width. The effect from the south side is of two rows of windows, clerestorey above and larger apertures lighting the aisles below. More of these windows are filled with stained glass than one normally sees in this area too, though mostly with 19th century glass, only tiny remnants remain of the original glazing.

Within the immediate sense is of spaciousness and a somewhat refreshing lack of clutter, the pews have been removed and replaced by modern seating which actually works very well here. The nave arcades are wide, requiring fewer pillars than one might expect. This very much has the feel of a large town church, and a somewhat restored one with so much Victorian glass in the most prominent windows (of decent quality, the majority being the work of Ward & Hughes, but in some instances a little oppressive), There earlier pieces of glass in the north east corner but the most interesting medieval survivals are in the south chapel, some fine elements of a late medieval brass and two curious wood carvings from bench ends, one supposedly representing St Edmund's head being guarded by a wolf (a peculiarly grotesque creature here, one I'd known from a picture in a book since childhood so was intrigued to finally see it for myself).

St Mary's is happily normally a visitor friendly church, generally kept open on a daily basis.

www.suffolkchurches.co.uk/hadleigh.htm

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.

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.

Unusually, most of the medieval statuary of the chapel has survived both Reformation and Civil War though the main reredos figures have been defaced, though it seems the primary motive here was to remove the extremeties of the sculptures, allowing a flatter surface to board or plaster over! Nonetheless enough survives to give a good indication of their quality.

Worcester Cathedral is the commanding presence on the skyline of the city, perched on high ground overlooking the River Severn. It is one of England's most rewarding cathedrals, though denied first rank status owing to the heavy handed Victorian restorations it underwent, an unavoidable consequence of being built of soft red sandstone (a problem shared with Chester and Lichfield) and thus a 19th century feel pervades inside and out in it's mostly renewed external stonework and furnishings.

The cathedral impresses with it's scale, one or our longer churches, crowned by a magnificent central tower (originally surmounted by a lead spire, lost sometime after the Refomation; subtle alterations to the tower's design were made when it was refaced in the Victorian restoration) and with a secondary pair of transepts flanking the choir (as at Salisbury, Lincoln, Rochester & Canterbury). Of the former monastic buildings the cloister and Norman chapter house have survived (along with the refectory, now part of neighbouring King's School), making this a more complex and enjoyable building to explore.

The earliest parts are of the Norman period with the superb 12th century crypt under the choir. The west end of the nave is also Norman work, though very late and unusual in design, with transitional pointed arches. However the bulk of the building we see dates from the 13th and 14th centuries, the east end in Early English gothic style (where most of the windows were restored to stepped lancets by Sir George Gilbert Scott during the Victorian restoration, having been altered over the centuries), whilst the remainder of the nave and tower largely of the Decorated period (the cathedral originally also possessed a detached octagonal bell tower with a lead spire, which stood near the north east corner but was demolished in 1647).

Of the original furnishings little remains beyond the fine set of misericords in the choir stalls. The stained glass too is nearly entirely Victorian (only some meagre, much restored medieval fragments survive in traceries of the south aisle). Much of the Victorian glass is quite impressive, particularly the great east and west windows by Hardman's of Birmingham.

Worcester is however especially rich in tombs and monuments of all periods, with medieval effigies of bishops, knights and ladies, not all in good condition but worth seeking out. There are also several large tombs from the post-Reformation period (especially in the cluttered south aisle) and some fine Baroque work in the north transept.

The most significant of the monuments here are Royal; in the centre of the choir lies the fine 13th century effigy of King John, best remembered for signing the Magna Carta. Nearby is the superb chantry chapel of Prince Arthur, elder brother of Henry VIII, whose premature death aged 15 changed England forever (one of the most pivotal moments in our history, had he survived the Reformation may never have happened). The gorgeous late Perpendicular gothic chapel stands to the south of the High Altar and is remarkable for it's rich sculpted detail.

www.worcestercathedral.co.uk/

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.

www.gloucestercathedral.org.uk/plan-your-visit

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.

East window of the south/Erdington chapel on the theme of 'Suffer the Little Children' by Hardman Studios c1900. The children at the bottom are unusually individualistically treated for Hardman's work.

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.

Tysoe church is sometimes referred to as St Mary's but its proper dedication is to The Assumption of the Blessed Virgin Mary, one of those rare dedications once popular in Pre-Reformation England and surviving to this day. The building itself is one of the grandest and most attractive churches in South Warwickshire with its beautiful honey-hued stonework adding much to its charm.

The overall impression externally is of a later medieval building, with large Perpendicular traceried windows in the chancel, an extraordinarily long nave clerestorey (beneath an ornate parapet) and the topmost stage of the tower all suggesting a major 15th century remodelling of the structure. Above the chancel arch is a rare Sanctus bell turret, though its present form is the result of 17th century repair, while the aisles below suggest a 14th century date with their handsome windows and carved friezes, The core of the church however is considerably older, much of it late Norman or Transitional while some elements date back to Saxon times. Entry is via the south porch through a fine late Norman doorway with unusual moldings and an Agnus Dei carving above.

The interior was stripped of plaster (or 'scraped') in the Victorian restoration exposing the stonework everywhere, which while attractively coloured renders the church a little dark within. One benefit of this was the discovery of the two Anglo Saxon window recesses above the south arcade with elements of herringbone masonry. The arcades themselves while pointed are clearly of the Transitional period judging by the Norman style of the nave columns and capitals. There are interesting corbel carvings throughout the church, adding to the strong sense of history and interest here. The most striking interior feature is the medieval font whose tapering cover (a more recent restoration) dominates the west end of the nave. The 14th century octagonal basin has crude but still recognisable figures under canopies adorning its sides.

This is a church to explore in detail as many of its features are easily missed. I didn't have as long as I'd have liked here so my coverage has left some unfinished business. My previous visit was back in 2005 as part of the team working on repairing the nave clerestories.

Tysoe church is a particularly handsome edifice with much of interest to reward a visit, and happily is normally kept open and welcoming to visitors.

Late 13th century roof boss in the nave vault.

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/plan-your-visit

Postwar south chapel window incorporating small fragments of Victorian windows shattered by wartime bombing.

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.

South aisle: Alan Younger, 1992. Donated by the Duke of Westminster to celebrate the 900th anniversary of the cathedral

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.

www.suffolkchurches.co.uk/Blythburgh.htm

Originally founded as an Augustinian abbey in 1140, Bristol Cathedral has had a more chequered history than most, having only been elevated to a diocesan church in 1542 following the dissolution of the monastery. At the time it was granted cathedral status the church was also incomplete, a major rebuilding of the nave was underway but the Dissolution brought work to a halt and the unfinished parts were demolished. The new cathedral was a truncated church consisting of choir, transepts and central tower, (already on a smaller scale than many) and so it remained until the Victorian period when renewed interest in the Middle Ages reignited the desire to rebuild the nave. The work was done between 1868-77 to the designs of architect George Edmund Street (largely imitating the genuine medieval architecture of the choir) whilst the west front with its twin towers wasn't finished until 1888 (to the design of J.L.Pearson). Only then was Bristol cathedral a complete church again, after a gap of more than three centuries.

Architecturally this is also a rather unique building in England, since it follows the German pattern of a 'hall-church' where the main vessel (nave & choir) and the side aisles are all of the same height, thus there is no clerestorey and the aisle windows rise to the full height of the building. Externally this gives the building a rather more solid, muscular look, whilst within there is a greater sense of enclosed space, with the columns merging into the vaulted ceilings like trees sprouting branches. There are many striking architectural innovations here that don't seem to have been repeated elsewhere in 14th/15th century England, such as the distinctive designs of the choir aisle vaults which appear to rest on pierced bracings and the 'stellate' tomb-recesses punctuating the walls below. Further eccentric touches can be found in some of the side chapels of the eastern arm. Another unique feature is the fact the cathedral has two Lady Chapels, the major one being below the east window behind the high altar, whilst a further chapel (one of the earliest parts of the church) is attached to the north transept.

Beyond its impressive architectural features the cathedral contains much of interest, with its late medieval choir stalls surviving along with a few much restored elements of its 14th century glass (along with an interesting mixture of windows from later centuries) and several monumental tombs of note. Parts of the monastic complex remain too, with two sides of the cloister remaining and the superb Norman chapter house (one of the finest examples of Romanesque architecture and carving in the country with some wonderfully rich-non-figurative decoration).

Frustratingly this visit was cut rather short by an impending service so I had to leave before making a full circuit of the building (it wasn't my first visit fortunately but my first opportunity to use a decent camera here) so much will have to wait until I find myself in Bristol again. I got around the bulk of the church but had to leave before I could get any shots of the north choir aisle and lady chapels (and had to miss the superb chapter house altogether). Unfinished business, an excuse to return.

en.wikipedia.org/wiki/Bristol_Cathedral

Much fuller photographic coverage here:-

paulscottinfo.ipage.com/england/cathedrals/bristol/

Window from 1961 by Harry Clarke Studios of Dublin (over 20 years after the death of Clarke himself). The design depicts the Risen Christ surrounded by vignettes representing the Seven Sacraments.

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 be glad that being put to other uses at least preserved the structure through it's centuries of hibernation.

The church possesses 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 generally 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...

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.

www.thebyzantinelegacy.com/hosios-loukas

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 Nicholas Cathedral in Newcastle upon Tyne was originally built as the main parish church, but was elevated to cathedral status upon the foundation of the new Diocese of Newcastle in 1882. Unlike a number of the elevated 'parish church cathedrals' it remains substantially as it was prior to it's raised status, the main changes effecting the furnishings rather than making any ambitious extensions to the building (since the church is somewhat hemmed in on all sides and was already a substantial cruciform building).

The church was founded as far back as 1091 but most of the present structure is the result of rebuilding in the 14th and 15th centuries, culminating in the astonishing west tower with its rare 'crown steeple' (a lantern carried on flying buttresses, the only surviving medieval example in England) which is the outstanding architectural feature of the cathedral and a major landmark of the city's skyline. Externally the rest of the building appears more modest by comparison with the soaring tower, its roof lying relatively low.

Within the impression is still that of a major city church rather than a cathedral owing to its dimensions, but the furnishings and fittings significantly enhance its grandeur. Despite the proportions (less height, more width) the footprint of the church is extensive with substantial transepts (below that on the north side is a small barrel-vaulted crypt) and a choir arranged with an ambulatory behind an impressive Victorian reredos. The choir stalls date from the elevation to cathedral status and do create the required effect of added gravitas despite the more limited space.

There are several impressive monuments from across the centuries, the most significant being the large Flemish-made 15th century brass situated at the rear of the high altar, originally from All Saints church and said to be the largest medieval brass in the country.

Newcastle Cathedral is one of the most rewarding of our 'parish church cathedrals' and deserves more time than I was able to devote to it on this trip.

en.wikipedia.org/wiki/Newcastle_Cathedral

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 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.

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.

www.worcestercathedral.co.uk/

The church of St Edward the Martyr sits at the highest point of the large village of Castle Donington as it has done for centuries, most of the present structure dating from the 13th to the 15th centuries though its origins are earlier still.

The building is of an impressive size, both chancel and nave are of considerable length with the latter flanked by aisles on either side, giving the interior a sense of spaciousness. The west end is dominated by the tower and its tapering spire, a landmark for miles around.

The church contains some notable medieval tombs and an extensive collection os stained glass windows (mostly Victorian aside from one notable recent addition).

In common with the majority in Leicestershire St Edward's is normally kept locked outside of services. I got lucky as a nice lady had opened early on a Saturday morning to do some cleaning and was happy for me to look around. It is a rewarding church so I'm very grateful to her and glad I timed my visit so well!

www.leicestershirechurches.co.uk/castle-donington-st-edwa...

Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.

The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.

The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.

The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.

The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.

There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14 th century to the striking contemporary windows by Tom Denny.

Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.

My visit coincided with the major 'Crucible' exhibition of contemporary sculpture (September-October 2010), examples of which I will upload in due course.

Detail of the mural decoration of the chapel of St Andrew off the south transept at Gloucester. The painting is the work of Thomas Gambier Parry from 1866-8.

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.

www.gloucestercathedral.org.uk/plan-your-visit

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:-

www.westminster-abbey.org/visit-us/photography-in-the-abbey

Memorial tablet to Sir John Bridgeman (d.1710) designed by the architect James Gibbs and installed in the south aisle in 1726.

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.

Knole, one of the largest private houses in England, is a splendid example of medieval architecture with Jacobean embellishments.

The original palace was built between 1456 - 1486 for Thomas Bourchier on the site of a medieval house. Bourchier was Lord Chancellor and Archbishop of Canterbury.

On his death the house was bequeathed to the See of Canterbury and it remained the residence of four more archbishops before Thomas Cranmer was persuaded to give it to Henry VIII. The King spent money on the house but never actually lived there.

In 1566 Queen Elizabeth I granted Knole to her cousin Thomas Sackville, 1st Earl of Dorset, whose descendants, later Dukes of Dorset, have lived here ever since.

Between 1603 - 1608 the 1st Earl made extensive alterations and additions, transforming the interior. He added panelling and plasterwork in the Great Hall and other principal rooms and installed the magnificent Great Staircase.

At the same time he began the collection of Jacobean furniture for which Knole is notable today.

The 4th Earl supported the Royal cause during the Civil War and fought at the Battle of Edgehill, while his wife was for a time governess to the Royal children.

In 1642 Parliamentarian troops sacked Knole and in 1645, when the Parliamentary commissioners were installed at the house, much else was stolen.

In the next generation some of the deprivations suffered by Knole were put right when the 5th Earl married a great heiress, Lady Frances Cranfield. She inherited the estates of her father, the Earl of Middlesex, and much of the furniture, tapestries and paintings at Knole were brought from Copt Hall the Cranfield family home in Essex.

The collection of 17th century furniture and textiles at Knole was mostly acquired by the 6th Earl.

As Lord Chamberlain to William III the Earl was entitled to take away furnishings discarded from the Royal palaces. As a result the galleries at Knole are filled with state beds, chairs, stools and tapestries that once adorned Whitehall, Kensington and Hampton Court.

The King's Room contains a beautiful silver looking-glass, table and candlestands. The splendid great bed is embellished with cloth of silver and gold with matching chairs and stools.

The cultivated and romantic 3rd Duke of Dorset treasured Knole's venerable atmosphere and ensured that the house was not remodelled in the classical style during the 18th century.

It is the lack of alteration which makes Knole such a precious survival amongst the great houses of Britain.

Knole was the birthplace of Vita Sackville-West, whose father was Lionel, 3rd Lord Sackville.

Virginia Wolfe's historical fantasy 'Orlando' was inspired by Knole and her friendship with Vita Sackville-West.

In 1946 Vita's uncle, Charles, 4th Lord Sackville, passed Knole into the care of the National Trust much to her distress. However, the contents of the house and the park remain the property of the Sackville family.

Knole's furniture, embroidered textiles and tapestries, ornate plaster ceilings and carved chimneypieces are a reflection of the superb craftsmanship which created the house.

Family paintings include work by Van Dyck, Kneller, Lely, Hoppner and Wootton. There is a whole room devoted to the work of Sir Joshua Reynolds.

The beautiful 1,000 acre park where herds of Sika and fallow deer graze is incised by deep valleys and planted with ancient oaks, chestnuts and beeches.

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 generally 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...

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.

www.stjohnhillmorton.org.uk/welcome.htm

Not entirely unique in medieval architecture, but a bold and exciting architectural invention; the skeleton vault. This is a vault where the ribs are present but the cells are removed.

I liked the composition of this image as if it were springing from the image frame, and it is a difficult subject to photograph as it is a dark room in the Cathedral.

All Saints at Sapcote was our last church of the day (or rather the last we were lucky enough to find open!) and a nice one to end on, a handsome 14th & 15th century structure with a slender west tower and spire which looked particularly well in the final bursts of evening sunshine. It was well after 6pm so we didn't hold out much hope of getting in here, but open door and nice couple who were still stewarding inside happily surprised us (I think they would have been only holding out for another quarter of an hour or so before locking up again).

The interior is light and cheerful, the nave appears unusually wide, though this is in part the illusion of the broad bit low chancel arch. There is only one side aisle on the north side and the chancel beyond is smaller and appears more restored. Most noticeable feature of interest (which all but accosts you on the way in) is the fine late Norman font , an attractive piece adorned with stylized leaf carvings. There is also some attractive glass, the east window being by Powell's and the south nave window having some fetching more recent glass by Clare Dawson.

Sapcote church is normally kept locked outside of services, so either good timing or prior planning will be necessary to see inside (unless like us one visits on Ride & Stride in September!).

Situated at Warwickshire's south-eastern fringe on the slopes of Edgehill, Shotteswell is an idyllic and secluded place, set away from the main road with a sense that the present era has left it largely untouched. Most of its buildings are constructed from the delightful honey-coloured local ironstone and the ancient church shows this off well. St Laurence's dates back to the 12th century and Norman work is still visible within, although the exterior has been much altered since. The sturdy tower bears a short spire and has belfry windows clearly renewed in the Victorian period, though happily the remainder of the church shows far less evidence of such interventions.

The interior betrays the church's antiquity, with the north arcade of the nave retaining its low Norman columns and arches (the south side is Gothic of a century or two later). There is a real sense of history in this church, a rustic charm which has been left unmodified by later restorers. Much of the woodwork here is ancient and quite special, including the screen and pulpit on the north side, and the astonishing sequence of Flemish Renaissance carvings now serving as a reredos in the chancel. The windows are entirely clear glazed, which at least admits plenty of light.

My introduction to Shotteswell church was more unusual, arriving for the first time only to find to my surprise two former colleagues working on the roof, so naturally moments later I was up there with them. There church was having much work done at the time and Norgrove Studios releaded almost the entire glazing in due course. (I even helped out latterly on one or two occasions). The spire was restored too (I got to ascend the tower and have a chat with the masons too) and on a few occasions a charming couple connected with the church treated we three glaziers to lunch in their lovely garden nearby. Good times, good place.

St Laurence's is normally open to visitors during daylight hours, as happily are most of the churches in the Edgehill area.

edgehillchurches.org/shotteswell-church/

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:-

southwellchurches.nottingham.ac.uk/bunny/hintro.php

Bruges, Belgium.

Bruges is the capital and largest city of the province of West Flanders in the Flemish Region of Belgium. The well preserved medieval architecture of the city, along with the system of canals, has been a tourist draw for several centuries.

"The earliest mention of the location's name is as Bruggas, Brvggas or Brvccia in AD 840–875. The name probably derives from the Old Dutch for 'bridge': brugga. Bruges had a strategic location at the crossroads of the northern Hanseatic League trade and the southern trade routes", leading to a long and lasting vibrant economy.

The building shown here sure appears to be newer construction, designed to look like and appear architecturally compliant to that of medieval Bruges.

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.

www.worcestercathedral.co.uk/

What is now officially the parish church of St Giles of a tiny settlement in the Malvern Hills will always be more popularly known by its original status as Little Malvern Priory. What survives is the (formerly) central tower and chancel of the once cruciform priory church that must have been a splendid sight in its heyday, perched partway up the hillside at the southern end of the Malverns, one of the most picturesque settings of any church I've seen.

Even in its truncated state the church is a magnificent sight, in addition to the complete loss of the nave and transepts its tower is shorn of pinnacles and the chancel missing its flanking chapels (ruined elements remain of these) but there is still a grandeur to the building and not all its glory has departed. The tower is especially attractive, its upper storey with panelled decoration in the Perpendicular style and the large east window also testifies to 15th century rebuilding. Much of the exterior however is difficult to access owing to adjoining private land so can only be enjoyed from a neighbouring field. Entry is from the north, the one accessible side.

Inside the tower and chancel form one tall and narrow space under an almost flat plaster ceiling (covering the original wooden ceiling, the bosses still show through), the eye drawn towards the six-light east window which still contains substantial fragments of its original late 15th century stained glass, including some kneeling portraits of members of the Yorkist Royal Family. There are elements of old woodwork too but of the former tombs in the church only fragments remain.

The church is normally kept open for visitors and I was given an especially warm welcome here by the very hospitable parishoners who were preparing the church for Harvest Festival. Thanks to their kindness I was even given access to the organ loft to enable me to get some better shots of the interior and the historic glass. My thanks to all I met that morning.

I had been wanting to visit this church for many years; its remote hillside position is not an easy destination for a cyclist, but I'm very glad I finally made the effort, it was well worth the wait!

www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...