Stockerston church lies some distance to the west of the village, approached by a long lane and situated on high ground next to the privately owned Hall. It is a handsome late medieval building, having reached its present form in the 15th and early 16th centuries.The church consists of chancel and nave flanked by aisles (both being a bay shorter than the nave itself) and a west tower with generously sized belfry windows, all finished in local ironstone that has grown attractively silvery with lichen.

The light interior has much of interest, it has not been too heavily restored and retains many antique features with various monuments and memorials (including a pair of fine brasses now displayed at the west end) and remains of ancient woodwork (though the original screen has gone, however there is an unusual stair-turret that once led to its loft in the south aisle). The outstanding survivals here however are in glass, with isolated panels of 15th century stained glass surviving in several windows, the most complete being the St Christopher at the west end, and a sainted bishop and scene from Christ's passion in the north aisle. Usually one is lucky to find mere fragments of the lost medieval glazing, but here at least those fragments are substantial with several complete panels and images.

Stockerston church was easily my favourite of our day exploring Leicestershire (18 churches visited of which we found 11 open) and is one I thoroughly recommend. Sadly visiting isn't normally so easy as it is generally kept locked outside of service times and I'm not sure if there is a keyholder so it may be necessary to make prior arrangements to visit the interior.

For more on this gem of a church see its entry on the Leicestershire Churches site below:-

www.leicestershirechurches.co.uk/stockerston-church-st-pe...

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.

High Altar

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.

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 Erdington 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.

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.

Divinity School - Bodleian Library

Óbidos is located on a hilltop, encircled by a fortified wall and remains a well-preserved example of medieval architecture including its streets, squares, walls and its castle.

Archeological sites include the remains of a forum, baths and other Roman structures. After the fall of Rome, Visigoths and then Moors controlled the area. Much of the Arab and medieval architecture which had survived centuries was destroyed by an earthquake in 1755.

Ston was a major fort of the Ragusan Republic whose defensive walls were regarded as a notable feat of medieval architecture. The town's inner wall measures 890 metres in length, while the Great Wall outside the town has a circumference of 5 km. The walls extend to Mali Ston ("Little Ston"), a smaller town on the northern side of the Pelješac isthmus and the end of the Bay of Mali Ston, notable for its mariculture.

Mali Ston and Ston are sentries at the entrance to the long and rugged Peljesac Peninsula, which has some of the most awe-inspiring landscapes in the country. The monumental Ston Wall and its fortifications are the obvious draw.

Ston Wall and Fortifications -- From afar, the 5.6km (3 1/2 miles) of walls and their positioning resemble the Great Wall of China running straight up, down, and across Sv. Mihaljo behind the town. St. Michael's Church is just up the hill via steps leading from the center of town. The steps do not lead up to the fortress; both the wall and the city of Ston were devastated by a 1996 earthquake, and the path leading up to the fortress at the top sustained damage that has not been completely repaired. However, restoration is in progress. The climb to the top of the wall is a steep one, so be sure to ascend on the right side of the fortress as you face it because there is a metal handrail there. The view of the town and peninsula is magnificent from the top.

From afar, the 5.6km (3 1/2 miles) of walls and their positioning resemble the Great Wall of China running straight up, down, and across Sv. Mihaljo behind the town. St. Michael's Church is just up the hill via steps leading from the center of town. The steps do not lead up to the fortress; both the wall and the city of Ston were devastated by a 1996 earthquake, and the path leading up to the fortress at the top sustained damage that has not been completely repaired. However, restoration is in progress. The climb to the top of the wall is a steep .

This massive stronghold was founded in the strategic valley of the Moravian gate around 1280 by Fridrich of Linava, a robber baron who took the lands from another wealthy family, and built the castle as a base for his raids on trade routs in the Moravian gate. Not much is known about him, or how he lost the castle, but around 1320 it became property of influential lords of Kravaře, who significantly extended the castle in the next century. They lost it in the heat of the Hussite wars because of their allegiance to the rebels, and the castle was handed out to king´s loyalists, but was not exposed to direct war. It was then sold some times, and in 1468 unsuccesfuly besieged by Hungarians. In 1474 the mighty Pernštejn family purchased the castle, and widely rebuilt it for a even better defense potencial against new weapons of war like artillery. This was the time when small and isolated castles were abandoned because of the ineffectivity of their potential upgrade (those are the many forgotten ruins which can be found in Czech Republic), and only large strategically located castles like Helfštýn were upgraded and used in the next centuries. The work lasted for some 30 years and changed Helfštýn into a large, heavily fortified base capable of sustaining strong army units, and holding enormous reserves of weapons and ammunition. Some owners changed in the next decades, until the turbulent times after the tragic battle of Bílá Hora in 1620, after which many rebelling Czech lords lost their belongings and their heads. Holštejn and the associated lands were given to cardinal František of Dietrichstein by the emperor Ferdinand II. The castle stayed in the hands of Dietrichsteins until 1945, when it was seized by the state. The castle was besieged by Danes in 1626, and by Swedes in 1643 and 1645, but the fortress easily withstood all attacks. Sadly in 1656 began demolishion work ordered by the government, which did not hurt the fortifications but definitely changed the character of the castle. After only seven years the castle again became important facing a Turkish offensive in 1663, and forttifications have been improved again. Definitive abandonement came in the 1760ies, and the buildings have been slowly demolished, the inner part was damaged by extensive training artillery fire in 1817, the massive shield wall was intended to be blown up, but withstood any amount of explosives. The ruin has been popular by tourists in the 19th Century, first serious rescue work began in 1911, and after WW2 the castle has been included to important cultural heritage. The renovation work still continues today, the castle is a important cultural center, and also the world centre of artistic blacksmithing with annual international blacksmith competition Hefaiston.

Hallaton is justly known as one of Leicestershire's most picturesque villages, and its church of St Michael is similarly fine, a handsome ironstone structure mainly spanning the 12th to 14th centuries. Its tower is a fine late example of the Early English style crowned by a broach spire.

Inside the church is full of light and interest, the earliest part being apparent in the north nave arcade which is Transitional in style with late Norman capitals. There is much glass by Kempe in the chancel and south aisle (some of it early) and also fine early 20th century glass by Powell's. The font is early medieval as are several tombstones displayed in the western parts of the church.

Hallaton church is normally kept open and welcoming to visitors (more the exception in Leicestershire!) and is well worth a visit. This was my second visit after a previous trip when we arrived too late in the day to get inside, this time we had much better luck and were duly rewarded.

For more detail see its entry on the Leicestershire Churches site below:-

www.leicestershirechurches.co.uk/hallaton-church-st-micha...

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/

A baroque chateau built in place of a 14th Century water fort. The baroque rebuild was finished in 1711, major work was done in the 19th Century, the large enclosed promenade was finished in 1833. It was confiscated by the state in 1945 and opened to the public.

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

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

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

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

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

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

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

The rose window is one of the most beautiful and characteristic features of medieval architecture. Taken at the First Baptist Church in Pasadena, California. [circa 1925]

Best viewed large

Furnishings by Sir Ninian Comper in the south chapel.

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...

Part of the outstanding scheme of Arts & Crafts glazing in the Lady Chapel at Gloucester, the largest commission ever undertaken by Christopher Whall between 1899 - c1913 (a final half window was added by Veronica Whall in 1926).

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.

St Mary de Crypt stands in the southern part of Gloucester city centre, a cruciform mainly 15th century building with a central tower (missing its parapet which gives it a rather 'shorn off' appearance). The unusual title does refer to an actual crypt here but I know little else of this since it wasn't accessible at the time of my visit. The church has an adjoining Tudor school building attached to its north side and continuous with the main facade to the street.

Within the church is full of interest, the interior is an intriguing space that feels a little compressed by the limitations of its site (the nave is wide but short and the transepts project only a little), but there is a great emphasis on the vertical in its proportions which increases the sense of height. The chancel is the most rewarding part with handsomely canopied sedilia and Easter sepulchre on either side and substantial remains of late medieval murals above.

St Mary de Crypt is a fine city centre church that deserves more visitors and happily is more accessible than most, being generally open several days a week.

discoverdecrypt.org.uk/

Same building as in previous photo, this time a wide-angle view. (Other shot is flipped.) The other day I found this quotation (an inscription on a sundial), which seems to fit:

Time flies,

Suns rise,

And shadows fall.

Let time go by.

Love is forever over all.

This gothique castle had a pretty short existence, built at the end of the 13th Century, it was owned by honrable lords and bandits alike, and the last owner brought it in conflict with the king George of Poděbrady, and the royal army seized and demolished the castle in 1467. Still many remains can be found, the area is well accessible, many path lead around ruined palaces and towers, and the top presents a beautiful look into the landscape. The tower above the river and the earth wall beside it were built later as a base for mobile guns. The northern palace in the core is the best preserved building. In the woods the gate with a base for the falling bridge is still existent.

Much of the city's medieval architecture remains intact and is remarkably well preserved and restored. Its centre is the largest carfree area in Belgium. Interesting highlights are the Saint Bavo Cathedral with the Ghent Altarpiece, the belfry, the Gravensteen castle, and the splendid architecture along the old Graslei harbour. Ghent established a nice blend between comfort of living and history – it is not a city-museum. The city of Ghent houses also three béguinages and numerous churches, among which the Saint-James' church, the Saint-Nicolas' church and the Saint Michael's church are the most beautiful examples.

In the nineteenth century Ghent's most famous architect, Louis Roelandt, built the university hall Aula, the opera house and the main courthouse. Highlights of modern architecture are the university buildings (the Boekentoren or Book Tower) by Henry Van de Velde. There are also a few theatres from diverse periods.

The beguinages, as well as the belfry and adjacent cloth hall, were recognized by UNESCO as World Heritage Sites in 1998 and 1999

Tostock is a name I'd seen on road signs so many times from childhood en route to visiting relatives in a neighbouring village and yet I'd never set foot in the place until now. I had heard the church was worth seeing, especially for its wood carvings, and was not disappointed.

St Andrew's at Tostock stands at the eastern edge of this peaceful village, enclosed in its delightfully rural churchyard set back from the road. It is a fairly small building and externally most features point towards a 15th century / late medieval date. It is a building of real charm on a small scale, though whilst the nave is fairly short it is exceedingly wide despite the lack of aisles, an unusual arrangement.

Inside the width of the nave is all the more apparent, it almost seems as wide as it is long, and all under its handsome original double-hammerbeam roof (sadly shorn of its original embellishments by post-Reformation iconoclasts, though the headless remains of the small carved post-figures of saints remain on the pendants. Originally there would most likely have been angels looking down from the sawn off rafters). It has to be said the interior on the whole has a surprisingly Victorian feel to it thanks to restoration and many of the fittings, and yet the greater part of the woodwork in here is medieval.

The real treasure of this church is its collection of late medieval benches, all carved with figurative (mainly animal) adornments and poppyheads as are found in several of the better known churches in this part of Suffolk. As in other such cases these have been augmented by cleverly matched Victorian work but this is mostly concentrated at the front few rows of the nave and the bulk of the rest is genuine original work. The only disappointing factor is the condition of some of them, many of the figures have suffered damage over the years (wear & tear rather than deliberate vandalism) and quite a few of the creatures lack faces or limbs; it should be remembered however that more famous sets nearby look so complete because they have seen careful restoration of their more timeworn elements, whereas at Tostock the originals have been left untouched by the carvers who only added newer figures to augment them.

Tostock church is well worth a look for anyone who enjoys the carved animal benches of East Anglia (they are the main attraction here), and happily normally seems to be kept open for visitors to admire.

www.suffolkchurches.co.uk/tostock.htm

The final church of my trip (thirteen in all) and my favourite of the day, so this itinerary was saving the best till last! St Mary's at Much Cowarne stands dramatically situated on high ground in an exposed spot by a farm; a pretty robust looking building, its sturdy square west tower staring out defiantly as the ground falls away to its west. The tower was formerly crowned by a wooden spire, but this was lost to a lightning strike in 1840 which caused a serious fire.

The church appear mainly to be of 14th century date (the tower a little older) and impresses with its sense of mass, not significantly diminished by the loss of its north aisle which has had the curious effect of leaving the former north nave arcade exposed externally, its three arches simply filled with masonry (one with a medieval doorway relocated within it, itself since blocked, suggesting all this material was recycled from the former north aisle walls).

Within the church seems pleasingly uncluttered, spacious and light (even on a dull afternoon), and all evidence of the missing north aisle (so noticeable externally) is hidden under plaster. The chancel arch is quite small with much space above, pierced intriguingly by three small quatrefoil lights. The most interesting features are in the south aisle, two of the church's three monuments with effigies, one medieval, the rest early 17th century (the other is in the chancel). The oldest is the effigy of a knight, believed to be Grimaldus Pauncefoot who fought in the 7th crusade and was captured by Saladin (a ransom was demanded of his wife's severed hand: this was dutifully sent from England, thus procuring Pauncefoot's release!).

This is was a most rewarding church to finish on and one that was happily open and welcoming in pre-Covid days. I was intrigued to read that composer Sir Edward Elgar had also arrived here on a similar cycling expedition a century before me, and hope it will continue to likewise reward others yet to visit.

More on the church (especially the tombs) at the link below:-

www.britainexpress.com/counties/hereford/churches/much-co...

The small walled city of Kotor is located on the inner most part of the Bay of Kotor, a deep indentation off the Adriatic Sea which is surrounded by mountains.

San Gimignano is a small walled medieval hill town in the province of Siena, Tuscany, north-central Italy. It is mainly famous for its medieval architecture, especially its towers, which may be seen from several kilometres outside the town.

The town also is known for the white wine, Vernaccia di San Gimignano, grown in the area.

The city flourished until 1348, when the Black Death that affected all of Europe, compelled it to submit to Florence. San Gimignano became a secondary centre until the 19th century, when its status as a touristic and artistic resort began to be recognised.

From Wikipedia :)

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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.

St Agnes's church at Cawston ranks as one of the very finest in a county well endowed with so many fine churches. It is most celebrated for its beautiful nave roof (complete with carved angels) and the remarkable rood screen, which retains its row of painted saints, some of which are of unusually high quality.

Most of the building is of 15th century date and its lofty west tower (curiously lacking a parapet with a slightly odd 'flat-top' look) is a landmark for miles around. Within the nave ceiling immediately impresses the visitor with its richness of carved detail, a masterpiece of medieval carpentry. There is further splendour to enjoy in the south transept ceiling, where not only are there many carved bosses but the whole roof retains most of its original colouring.

The windows are mostly clear glazed, which at least allows us to appreciate the surviving furnishings in better light. All the remains of the church's original stained glass is collected into one of the windows on the south side and gives a taste of what has vanished from the expanses of glazing.

The church is happily kept open and welcoming to visitors and shouldn't be missed, being (along with nearby Salle) amongst the very best that East Anglia can offer the avid church-crawler.

www.norfolkchurches.co.uk/cawston/cawston.htm

Formerly the abbey church of a Benedictine monastery dedicated to St Werburgh, since 1541 it has been the seat of the Bishop of Chester and now dedicated to Christ and the Blessed Virgin Mary.

The building dates from between 1093 and the early 1500s, although the site may have been used for Christian worship since Roman times.

All the major styles of English medieval architecture, from Norman to Perpendicular, are present in the building.

Chester Cathedral is a Grade I listed building.

The quire: misericords of 1380. Due to coronavirus the quire was not accessible

Pernes-les-Fontaines, Vaucluse, Provence, France. Medieval architecture and fountain.

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.

Part of the outstanding scheme of Arts & Crafts glazing in the Lady Chapel at Gloucester, the largest commission ever undertaken by Christopher Whall between 1899 - c1913 (a final half window was added by Veronica Whall in 1926).

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/

The church of St Mary the Virgin at Pembridge is best known for one outstanding feature which is immediately apparent on approaching the church,, it's unique detached belfry. This 14th century wooden structure rises from an octagonal masonry base and forms three distinct storeys with sloping roofs, like a cross between a pyramid and a wedding-cake! It is a striking design and remarkable medieval structure. The door in it's base is usually open to reveal the forest of timbers within.

The large cruciform church next to it is also of mostly 14th century date and quite spacious within. The best features here are the medieval tombs with effigies in the chancel, but there are other noteworthy elements from later generations, such as the 17th century wood-carving in the nave.

St Mary's and its detached bell-tower are normally open and welcoming to visitors on a daily basis.

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.

Quire detail

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.

Bishop's throne

Formerly the abbey church of a Benedictine monastery dedicated to St Werburgh, since 1541 it has been the seat of the Bishop of Chester and now dedicated to Christ and the Blessed Virgin Mary.

The building dates from between 1093 and the early 1500s, although the site may have been used for Christian worship since Roman times.

All the major styles of English medieval architecture, from Norman to Perpendicular, are present in the building.

Chester Cathedral is a Grade I listed building.

The Cobweb Picture:

Our Lady and the Holy Child, Jesus. The picture comes from the Tirol and is painted on the net of the caterpillar Hyponomeuta Evonymella L. It is probably by the Tirolean artist Johann Burgmann (d. 1825) and is a copy of a picture by Lucas Cranach I (1472-1553), now in the church of St Jakob, Innsbruck. The painting of 'cobweb pictures' was a flourishing art in the Tirol from about 1750 to 1920.

www.thebyzantinelegacy.com/hosios-loukas

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/

Peterborough Cathedral is one of England's finest buildings, an almost complete Romanesque church on an impressive scale sitting behind one of the most unique and eccentric Gothic facades found anywhere in medieval Europe. The church we see today is little altered since its completion in the 13th century aside from inevitable 19th century restorations and the serious depradations of Civil War damage in the mid 17th century.

The bulk of the church is 12th century Norman, retaining even its apse (a rarity in England) and even the original flat wooden ceilings of nave and transept. The nave ceiling retains its early medieval painted decoration with an assortment of figures set within lozenge shaped panels (mostly overpainted in the 18th and 19th centuries but the overall effect is preserved). The 13th century west facade is the most dramatic and memorable feature of the building, with three vast Gothic arches forming a giant porch in front of the building, a unique design, flanked by small spires and intended to be surmounted by two pinnacled towers rising just behind the facade, though only that on the north side was finished (and originally surmounted by a wooden spire which was removed c1800). The central tower is a surprisingly squat structure of 14th century date (with a striking vaulted ceiling within) and along with its counterpart at the west end makes surprisingly little presence on the city's skyline for such an enormous building. The final addition to the church prior to the Reformation is the ambulatory around the apse, a superb example of late medieval perpendicular with a stunning fan-vaulted ceiling.

Given the vast scale of the building it is perhaps surprising to learn that it has only had cathedral status since 1541, prior to that it had been simply Peterborough Abbey, but it was one of the most well endowed monastic houses in the country, as witnessed by the architecture. It was once the burial place of two queens, Katherine of Aragon lies on the north side of the choir and Mary Queen of Scots was originally interred here before her son James I had her body moved to the more prestigious surroundings of Westminster.

Sadly the cathedral suffered miserably during the Civil War when Parliamentarian troops ransacked the church and former monastic buildings in an orgy of destruction, much of which was overseen by Cromwell himself in person (which helps ex[lain its thoroughness). Tombs and monuments were brutally defaced, nearly all the original furnishings and woodwork were destroyed, along with every bit of stained glass in all the vast windows (only the merest fragments remain today in the high windows of the apse). Worse still, the delightful cloisters on the south side, once famed for the beauty of their painted windows, were demolished leaving only their outer walls and some tantalising reminders of their former richness. The magnificent 13th century Lady Chapel attached to the north transept (an unusual arrangement, similar to that at Ely) was another major casualty, demolished immediately after the war so that its materials could be sold in order to raise funds for the restoration of the cathedral following the Cromwellian rampage.

In the following centuries much was done to repair the building and bring it back into order. There were major restorations during the 19th century, which included the dismantling and rebuilding of the central tower (following the same design and reusing original material) owing to impending structural failure in the crossing piers.

What we see today is thus a marvel of architecture, a church of great beauty, but a somewhat hollow one owing to the misfortunes of history. One therefore doesn't find at Peterborough the same clutter of the centuries that other cathedrals often possess (in terms of tombs and furnishings) and there are few windows of real note, but for the grandeur of its architecture it is one of the very finest churches we have.

For more history see the link below:-

www.peterborough-cathedral.org.uk/history.aspx

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

Remains of a castle, founded in 1232 over the river Berounka on a steep rock cliff. For centuries an important strongpoint, in 16th Century rebuilt in reanissance style, in 17th Century owned by the monastery of Plasy. After the monastery was closed in 1785, the castle rapidly deteriorated and was mentioned as a ruin around 1800. There was also a large fortified bailey, the surrounding higher hills were blocked by bastions. There was alrage industrial complex with a water mill and a brewery, at the end of the 15th Century Křašov was one of the richest and largest noble houses in the land. Even when war raged around, nobody tried to besiege the castle, because it was impenetrable. After the abandonement stone from the castle was used to rebuild a nearby farm, a large part of the fortification simply vanished through this. Archeological research began in 1970, after that a volunterr group was established with the target of saving the remaining castle core and to preserve it for the future. Today the area is freely accessible, with a beautiful lookout into the landscape.

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.

Quire detail

The final church of my trip (thirteen in all) and my favourite of the day, so this itinerary was saving the best till last! St Mary's at Much Cowarne stands dramatically situated on high ground in an exposed spot by a farm; a pretty robust looking building, its sturdy square west tower staring out defiantly as the ground falls away to its west. The tower was formerly crowned by a wooden spire, but this was lost to a lightning strike in 1840 which caused a serious fire.

The church appear mainly to be of 14th century date (the tower a little older) and impresses with its sense of mass, not significantly diminished by the loss of its north aisle which has had the curious effect of leaving the former north nave arcade exposed externally, its three arches simply filled with masonry (one with a medieval doorway relocated within it, itself since blocked, suggesting all this material was recycled from the former north aisle walls).

Within the church seems pleasingly uncluttered, spacious and light (even on a dull afternoon), and all evidence of the missing north aisle (so noticeable externally) is hidden under plaster. The chancel arch is quite small with much space above, pierced intriguingly by three small quatrefoil lights. The most interesting features are in the south aisle, two of the church's three monuments with effigies, one medieval, the rest early 17th century (the other is in the chancel). The oldest is the effigy of a knight, believed to be Grimaldus Pauncefoot who fought in the 7th crusade and was captured by Saladin (a ransom was demanded of his wife's severed hand: this was dutifully sent from England, thus procuring Pauncefoot's release!).

This is was a most rewarding church to finish on and one that was happily open and welcoming in pre-Covid days. I was intrigued to read that composer Sir Edward Elgar had also arrived here on a similar cycling expedition a century before me, and hope it will continue to likewise reward others yet to visit.

More on the church (especially the tombs) at the link below:-

www.britainexpress.com/counties/hereford/churches/much-co...

Conserved remains of a gothique castle, founded in early 14th Century. It stood on the rebel side in the Hussite side, but its owner switched sides in the last phase of the conflict, and the castle was unsuccesfuly besieged by Hussites in 1434. The owning lord is mentioned a few weeks later as one of the knights, who decided the battle of Lipany, in which the Hussites were definitely crushed. The castle was used together with a newly built baroque manor until 1621, when both were plundered and burned down by imperial soldiers. The manor was quickly restored, but the castle was abandoned, and parts of it were systematically demolished, after the whole county was sold to a enterpreneur. When his son, after he inherited the castle, is elevated to a noble in 1865, he sees himslef to be a successor to the knight tradition of the castle, stops its destruction and begins conservation efforts. In the communist era the ruin was statically conserved in the then-typical way, which was not the most sensitive, it was returned together with the manor to their last owners in 1990ies, and is freely accessible today, with deep cellars and tight tunnels undergrounds.

St Leonard's at Misterton lies a short distance to the east of Lutterworth sheltered amongst the dense trees of its secluded churchyard (one of those churches it's tricky to get a complete external shot of, owing to the many trees that surround it). Only its spire seems to rise above the foliage at first sight and approach is made via a shadowy path from the roadside.

The church once revealed is a handsome mostly 14th century structure with a proud west steeple, a nave flanked by aisles on each side and a fairly long chancel. It is one of the more rewarding churches in the south of Leicestershire.

Within it is soon apparent that many of the furnishings date from the Victorian restoration but earlier features remain too, such as the intriguing collection of late medieval carved wooden bench ends at the west end of the nave, a more unusual survival in the Midlands. The spacious chancel beyond has some slightly oppressive Victorian glass but a couple of tombs worthy of note of the Tudor period. The attractive 14th century sedilia remains in the chancel whilst at the west end is the font of the same period of an unusual design adorned with quatrefoils.

Misterton church may not be open very often outside of services but is worth a look if one is lucky with timing or can track down someone with a key.

Late 15th century knight's tomb, presumed to be that of Sir William Harcourt.

A familiar landmark in north Birmingham, Aston's parish church of SS Peter & Paul is also the most substantial piece of medieval architecture left anywhere near the city centre, or rather would have been had it not been so completely rebuilt in 1879-90 by J.A.Chatwin (whose work seems synonymous with Birmingham's older churches!), leaving just the 14th century west tower (with it's curiously designed upper stage, adorned with deeply recessed blank arcading) and spire. It is nonetheless a splendid sight in this otherwise not too glamourous area, and Chatwin's work is a solid exercise in neo-Perpendicular, adorned with much fine carved detail and an apse reminiscent of old St Michael's in Coventry.

The interior is most impressive, somewhat dark but richly decorated, with a mixed bag of Victorian glass (Hardman's in the apse, where I was shown the pink giraffe!) and very much of it's time, all under a fine hammerbeam roof, more elaborate over the chancel, as is the stonework generally with dramatic cusped ogee arches providing a setting for some of the many tombs. There are several good medieval monuments with effigies, mostly to the Holte family and the bulk concentrated in the Erdington Chapel on the south side. None are of the highest quality or best condition, but a worthy collection nevertheless. The largest monument is the 1620s Devereux tomb with it's canopy but rather difficult to see in it's somewhat blackened state in a dark corner. There are also many Baroque and later wall tablets adorned with putti etc distributed throughout the aisles.

What would have been the most important piece of stained glass is currently stored in a crate in the north aisle, it is a large single-arched composition by Francis Eginton from 1798 with a female figure ascending to Heaven. It had been originally installed in the Erdington Chapel, but relocated in the Victorian rebuilding and hidden behind the organ for years, until more recently being removed following vandal damage. The church has no funds to restore it with and no space to put it in, but it is clearly an important work that needs to be back on display somewhere, perhaps the City Museum & Art Gallery, since they have an extensive stained glass display?

I'd been intending to visit this church for some time, but had heard it was rather difficult to get inside. I'd phoned the parish office before I left home and a very helpful young lady answered and said it'd be no problem whilst she was around (till 12ish) so I broke my journey to Erdington and made the shortish walk from Aston railway station. After struggling to find which door to knock on she emerged and kindly escorted me through the offices into the church, and after a brief introduction left me to snap away by myself. I'm afraid I got a bit carried away and when nobody arrived at 12 to lock up I pushed my luck and carried on a bit longer, only to find the poor girl was waiting patiently around the corner! I apologised and should add how grateful we should be to such individuals who generously give their time for our enjoyment of the buildings in their care.

Formerly the abbey church of a Benedictine monastery dedicated to St Werburgh, since 1541 it has been the seat of the Bishop of Chester and now dedicated to Christ and the Blessed Virgin Mary.

The building dates from between 1093 and the early 1500s, although the site may have been used for Christian worship since Roman times.

All the major styles of English medieval architecture, from Norman to Perpendicular, are present in the building.

Chester Cathedral is a Grade I listed building.

The quire

After the first town castle was destroyed in the large city fire of 1387, a new water castle was built, which was reconstructed in renaissance style in 1580, inspired by Italian architecture. Some parts of the old castle survived, and the look was not further modified in more modern styles, so the castle is a rare surviving example of 16th Century Italian renaissance. Together with five churches, the city hall and original 14-16th Century houses it forms the Inner city, a UNESCO heritage site with completely intact historical development.