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St Lawrence's is a fine largely 13th-15th century building sitting in the heart of the picturesque village of Gotham (pronounced Goat-ham, unlike where a certain caped crusader lives!). The older parts of the building include the tower with its broach spire and the nave arcades within (with carved capitals) whilst the clerestorey of the nave is a 15th century addition that lends great dignity to the exterior. The building has benefitted in more recent years from an external rendering of its aisles and chancel to protect the stonework, which lightens up the structure considerably and should hopefully reduce the need for maintenance.
The interior is space and light with mainly plain-glazed windows and some intriguing carvings in the nave. The chancel beyond is home to some interesting wall monuments, most notably the pair on either side to members of the St Andrew family from the early 17th century.
Gotham church is worth seeing if you can get inside as it isn't normally open outside of service times (though there's more chance of that than an encounter with a certain fictional hero who makes the village worth visiting for the name alone! ;-).
Both my visits here were on open days run by the diocese who also sponsored the fine website with individual church entries and summaries below:-
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...
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).
St. John’s Church is one of the oldest medieval architectural monuments in Latvia. Church was built in the beginning of 13th century during the Christianization of Baltic’s for the purposes of the Livonian Holy Order because residence of the order was located in Cēsis; therefore Cēsis became one of the most important German power centers in the Baltic’s from 1237 up to 1561.
from:
www.latvia.travel/en/sight/cesis-st-johns-church
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Cēsu Svētā Jāņa evaņģēliski luteriskā baznīca ir luterāņu dievnams, kas atrodas Cēsīs. Tā ir viena no vecākajām gotiskajām mūra baznīcām Latvijā un lielākā viduslaiku bazilika Latvijā ārpus Rīgas. 16. gadsimtā tā kļuva par vienu no Ziemeļlatvijas reformācijas centriem. 1582. gadā baznīca kļuva par katoļu katedrāli, bet kopš 1629. gada tā ir luterāņu baznīca. Baznīcā ir apglabāti daudzi 15. un 16. gadsimta Livonijas valstsvīri — vairāki Livonijas ordeņa mestri — Johans Freitāgs fon Loringhofe (1494), Valters fon Pletenbergs (1535), Hermans fon Brigenejs (1549) un Cēsu bīskaps Andrejs Patrīcijs Nideckis (1587).
So much has been said in praise of St Mary's church in the Redcliffe area of Bristol that it seems rather pointless trying to go into further detail here beyond saying that its repute is truly well deserved, this being the church that Elizabeth I called "the fairest, goodliest, and most famous parish church in England."
St Mary Redcliffe is a wonderfully complete vision of English late Decorated / early Perpendicular Gothic architecture which is broadly unified stylistically. The present building mainly dates from 1292-1370 and has a cathedral-like form and scale, fully cruciform with nave, choir and transepts flanked by aisles in each case and the church culminating in a Lady Chapel at the east end. The tower is at the north west corner and crowned by a tapering spire (truncated by a lightning strike in 1446 and only rebuilt in 1872) and a landmark for the surrounding area (visible as one arrives in Bristol by train as I did, being so close to the station). However the most dramatic architectural feature of the exterior is the unique two-storied hexagonal porch on the north side which is the main entrance to the church. This porch has much unusual ornament in its carved doorways and details and within is a joy to behold with its vaulted ceiling, a beautiful introduction to the church beyond.
Inside the nave the glory of the interior becomes clear, flooded with light from the many great aisle and clerestorey windows and crowned throughout by vaulted ceilings of a variety of beautiful designs, all studded with gilded roof bosses. It is a breathtaking interior to behold and a feast for the eyes. As one progresses further down the church through the aisles and transepts one encounters tombs and effigies to various medieval worthies of Bristol and whilst most of the medieval glass has disappeared beyond a few collected fragments (located in the chapel at the north west corner under the tower) there are some huge swathes of Victorian glass and some rather more rewarding postwar glass in the Lady Chapel adding a rich splash of colour at the far end of the building.
It is impossible to really do this architectural gem justice with words so I'll let the photos do the rest of the talking. All I can add is that this is one of the loveliest buildings in the country and a masterpiece of English medieval art and architecture. It shouldn't be missed and is happily normally open to visitors on a daily basis.
Original taken in RAW format.
Heddal Stave Church is a medieval architectural masterpiece. The church is the largest of the 28 stave churches still remaining in Norway.
Categorizing a stave church is in fact easy - it's based on the very special building construction. On a stone foundation there is a frame of ground sills, into which the large pillars, the staves, are inset. On the top of the staves there is another frame of sills, the head beams, and on those, the roof construction is placed. The wall boards rest in a groove in the ground sills, while the top fits into a groove in the head beams. The boards are tounge and grooved, and only wooden nails - no metal nails - were used when constructing this church.
The outside of the church was protected by tar. The church is now regularly tarred by hand, with tar produced in the old way. There is a project going on, mixing the tar with coal. This makes the tar attaching firmer to the tiles. With great success mountain climbers are now engaged to do the tarring.
Inside the church you can see a beautiful wooden carved chair, dated around 1200. The baptism- font and a small wooden chair are both made in 1850 from two of the original pillars from this church. The alter-piece is produced by an unknown artist in 1667. The wall-painting that you see today is dated 1668. Underneath, on the west wall, there are remains of the original painting from about 1300. The Norwegian Government hope to restore these ancient paintings in 2008-09.
A circular iron chandelier for 23 candles (now in the University Museum of National Antiquities, in Oslo) formed part of he medieval inventory. Here is also a beautiful alter-front.
Until 1850 the church bells hung in the church. They were moved to the bell-tower outside because the burden on the structure of the church became too great, as the centuries passed.
The oldest church bell is was made in Amsterdam in 1647.
You can learn more about Stave kirker in English here and Norsk her.
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.
Victorian stained glass in the south nave aisle by Clayton & Bell, a fine example of their early work, 1859.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a separate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
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.
The church of St Cuthbert at Holme Lacy is a delight, standing in a totally rural setting and possessing much of interest. It is no longer in parish use and is cared for by the Churches Conservation Trust who keep it accessible to visitors.
The mainly 14th century building consists of two similarly proportioned main aisles separated by an arcade, a nave and chancel without any structural division and a south aisle and chapel; both aisles are covered by plain plaster ceilings of mid 17th century date. At the west end of the nave is the square tower with a slightly later top storey.
The furnishings include a superb Arts & Crafts east window, fragments of medieval glass, several medieval misericords and a fine 17th century font. The collection of post-Reformation tombs and monuments at the east end are however the best known feature here and commemorate members of the Scudamore family who resided at the nearby Holme Lacy Hall.
This was my second visit and it was every bit as good as I remembered. I got chatting a while to the nice lady next door who puts in a lot of time and energy in watching over the church and keeping both it and the churchyard tidy.
For more see its entry on the Churches Conservation Trust site below:-
www.visitchurches.org.uk/visit/church-listing/st-cuthbert...
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...
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.
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.
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.
The old church of St Mary at Ullenhall is hidden amongst the foliage up winding lanes some way out of the village centre, so well hidden in fact that one would perhaps never stumble across it without prior knowledge of it's existence.
It comprises the chancel of the medieval church, with a west wall, bellcote and Victorian porch in place of the former chancel arch (the nave has gone without trace, though the small lancet above the porch is a reused original feature)
This peaceful and idyllic spot is maintained as a chapel and, unlike the Victorian main church, is generally kept open for visitors and private prayer.
I had first visited here many years ago whilst working on refitting the glazing which was restored at Norgrove Studios.
Beckford is one of the more picturesque villages along the southern edge of Bredon Hill and St John the Baptist's church is accordingly one of the most handsome and interesting in south Worcestershire. The first impression is made by the stately 15th century tower that announces the church's presence, but the building below is much older with many curious reminders of its more distant past.
Despite the initial distraction of the later tower the church is still largely a 12th century Norman building, the nave simply having had its roof replaced and most of its windows modified over the following centuries. The central tower separates nave and chancel, its lowest stage also Norman and showing evidence of a long vanished transept to the south with a large blocked up arch visible (not matched on the north side though it seems reasonable to assume a cruciform church was at least intended if not fully realised). Above is a tower of two further distinct periods, 13th century with lancets below, 15th century Perpendicular above. The most interesting external features however are the two Norman doorways on either side of the nave, that on the north now blocked but both still retain their tympanum carvings (that on the north features a worn figure thrusting a lance into a dragon's head, the larger south doorway (still the main entrance) features two strange beasts beside a cross, and is the image that greets all who enter the church.
Inside the nave has been stripped back to the stonework and the Norman chancel arch beyond affords a more tantalising glimpse of the spaces beyond it (the chancel lighter thanks to an attractive limewash treatment). The arches below the tower reward study for their Norman carvings, strangely only a few in select areas (which one would expect to extend around the entire perimeter of the arch but here such plans seem to have come to an abrupt end after the three carvings at the left hand corner, were the rest simply chiseled off?). The capitals above have curious masks peering out from amongst the Romanesque ornamentation. The glass here is a bit of a mixture and the font late medieval but fairly standard, thus it is the 12th century carvings that will remain the chief joy of a visit here.
Beckford church used to be open daily and welcoming in the good old days of the pre-Covid era (these photos being almost a decade old now and taken with a much more limited camera). Hopefully it will be accessible again before long. See the link below for more details:-
www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...
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.
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.
North west tower: black marble font consisting of a bowl on a large baluster dating from 1697
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.
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.
The Château d'Harcourt is a masterpiece of medieval architecture and one of the best preserved castles in France. It also contains the oldest arboretum in France.
Although the lords of Harcourt trace their origins to the year 1000, it is only in the second half of the 12th century that the existence of a castle can be proven from historical texts. Robert II d'Harcourt was a companion in the crusade of Richard Lionheart; the first stone castle was certainly built by him. Harcourts appear later among the most important barons of Normandy. Jean II d'Harcourt, for example, was named Marshal of France (French: maréchal de France) and accommodated in his residence king Philip III. In 1338, king Philip VI, set up the seigniory of Harcourt, with the Château d'Harcourt forming its principal town.
Continue reading here: en.wikipedia.org/wiki/Ch%C3%A2teau_d%27Harcourt
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...
So much has been said in praise of St Mary's church in the Redcliffe area of Bristol that it seems rather pointless trying to go into further detail here beyond saying that its repute is truly well deserved, this being the church that Elizabeth I called "the fairest, goodliest, and most famous parish church in England."
St Mary Redcliffe is a wonderfully complete vision of English late Decorated / early Perpendicular Gothic architecture which is broadly unified stylistically. The present building mainly dates from 1292-1370 and has a cathedral-like form and scale, fully cruciform with nave, choir and transepts flanked by aisles in each case and the church culminating in a Lady Chapel at the east end. The tower is at the north west corner and crowned by a tapering spire (truncated by a lightning strike in 1446 and only rebuilt in 1872) and a landmark for the surrounding area (visible as one arrives in Bristol by train as I did, being so close to the station). However the most dramatic architectural feature of the exterior is the unique two-storied hexagonal porch on the north side which is the main entrance to the church. This porch has much unusual ornament in its carved doorways and details and within is a joy to behold with its vaulted ceiling, a beautiful introduction to the church beyond.
Inside the nave the glory of the interior becomes clear, flooded with light from the many great aisle and clerestorey windows and crowned throughout by vaulted ceilings of a variety of beautiful designs, all studded with gilded roof bosses. It is a breathtaking interior to behold and a feast for the eyes. As one progresses further down the church through the aisles and transepts one encounters tombs and effigies to various medieval worthies of Bristol and whilst most of the medieval glass has disappeared beyond a few collected fragments (located in the chapel at the north west corner under the tower) there are some huge swathes of Victorian glass and some rather more rewarding postwar glass in the Lady Chapel adding a rich splash of colour at the far end of the building.
It is impossible to really do this architectural gem justice with words so I'll let the photos do the rest of the talking. All I can add is that this is one of the loveliest buildings in the country and a masterpiece of English medieval art and architecture. It shouldn't be missed and is happily normally open to visitors on a daily basis.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a 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.
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.
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.
North aisle mosaics: Abraham, Moses, David and Elijah. Designed by J R Clayton of Clayton & Bell, and dating from 1883-6
Last but not least, the final church of the day and a good one to finish on, the last of my itinerary's 'big three' which I simply had to see on this trip (all the more so having finished another excursion here only two days earlier but arriving far too late to see inside, a mistake I was keen to avoid repeating!).
St Mary's at Dennington is one of those churches you read about and see details of in books long before planning a visit so the churchcrawler general;ly approaches here with a greater degree of anticipation. It is a grand building with an impressive length and width for a village church, its west tower fairly plain but given a more muscular appearance by its slightly over-emphasised corner buttresses (with a stair turret on the north side(. It appears to be a mainly late 14th century structure but its stylistic unity and generous size are not the main reason for its fame, that becsomes clearer once one steps inside via the handsome north porch.
Within the church feels somewhat sprawling, and fairly well lit owing to mostly plain-glazed windows which also means there isn't a lot of colour in here apart from the muted pale tones of the walls above and the rich dark browns of the woodwork below, and it is this Aladdin's cave of carved wooden furnishings which gives Dennington such renown. The first features to catch the eye upon entering are the carved pews, many Suffolk churches have bench ends like these with traceried panels on their fronts and fanciful animals serving as armrests and this is a particularly rich set. Sadly some of the animals have been damaged, but plenty can still be enjoyed. The most famous character here however is carved in relief on one of the benches on the south side of the nave, the figure of a mythical Sciapod sheltering under his enormous foot.
Towards the eastern end of the nave the carved pews give way to Post-Reformation box-pews (a few of which incorporate their medieval predecessors) and then two rich parclose screens that dominate the end of both side aisles, a rare survival in any form but here all the more significant for retaining their original lofts with rich cresting at full height. Originally these would have been joined across the nave by the rood screen, but only the lowest level of this now survives (and I almost missed it altogether being concealed within the box pews). The parclose chapel on the south side contains the magnificent mid 15th century alabaster tomb of Sir William Bardolph and his wife, their effigies resplendent with much of their original colouring.
The chancel beyond looks a little more sober by comparison but is enriched by a few good elements of its original 14th century glazing in the traceries and heads of certain windows. Above the altar hangs the rare wooden pyx, a spire-like tabernacle to hold the sacrament. Frustratingly I didn't get a good shot of this, a bit of a hazard in a church with so many good features to enjoy.
Dennington church is one that needs to be experienced, especially for those with a fondness for medieval and later woodwork. In normal times it is usually kept open and welcoming to visitors and really deserves more of them. For more see its entry on the Suffolk Churches site below:-
Horninghold is a quiet rural Leicestershire village defined by attractive houses and green spaces, the church being set back from the road and unusually seemingly accessed through the front gardens of two such properties.
St Peter's is a fine medieval building dating mainly from the 12th to 14th centuries and consisting of a small chancel a nave flanked by aisles on both sides and a west tower and spire. The outstanding feature here dates back to the Norman period, a finely carved doorway on the south side with some beautiful details which shouldn't be missed.
Inside the church has a great feeling of antiquity with little evidence of Victorian restoration and plain glazing in all windows (so a well lit space). There are some vestiges of ancient woodwork amidst the poppyheads of the benches at the west end of the nave and also an ancient tombstone unearthed in more recent years. The east window is surprisingly small and plain, presumably a post-Reformation repair that has unusually been allowed to remain unaltered since.
Horninghold church is happily normally kept open and welcoming and is well worth making a stop to see. More detail can be found on its entry on the excellent Leicestershire Churches site below:-
www.leicestershirechurches.co.uk/horninghold-church-st-pe...
Clifton village is now virtually an eastern suburb of Rugby, and St Mary's church has a small, box-like late medieval west tower (an odd carving of a bear halfway up the west side is now worn beyond recognition) and largely 13th/14th century nave and aisles with evidence of Norman work in the earlier chancel. The church has been much restored and the interior now has a rather Victorian feel to it (new chancel arch and the one Norman window virtually renewed) but is attractive and still retains a few features of interest.
There are some quaint corbel heads supporting the nave roof (one may be a reused Norman carving), and the south aisle roof though mostly renewed follows its 15th century design retaining a few of its original bosses. The east window of the aisle retains one small roundel of 14th century glass (only keen eyed visitors will find this reworked into the tracery of the Comper window, indeed I only noticed it on my latest visit despite having known this church for years). Otherwise the only other antique element is a not very elegant Baroque memorial in the chancel. There is a good mixture of Victorian stained glass of decent quality, Hardman's in the chancel and north aisle, some Burlison & Grylls, a fine St Paul & Timothy by Kempe and one by Comper. The font is a curious block-shaped thing that dates to the 1893 restoration by Bodley & Garner, along with many of the furnishings of the church.
I have known this church for many years being so close to home and also the church of my Uncle (my Dad's twin) who lived nearby. I recall in the early 1980s attending my cousin Fiona's wedding here and later Uncle Ian's funeral after his untimely death in 1991. Shortly afterwards during my time at college I made a design for one of the windows here purely as an exercise (it never stood a chance of being realised).
The church is usually kept open for visitors 10am - 4pm most days.
en.wikipedia.org/wiki/Clifton-upon-Dunsmore
For more detail on this church see it's entry on the Warwickshire Churches site below:-
warwickshirechurches.weebly.com/clifton-upon-dunsmore---s...
Woolpit church is one of Suffolk's finest and also an all time favourite of mine. I have loved this church since I first set eyes on it as a young child in the late 1970s whilst attending the wedding of one of my cousins here. I was mesmerized by the riot of wood-carving within, the angels gazing down from the ceiling and the animals perched on the bench-ends, it was so unlike the austere 1960s building we attended mass in at home!
You could say my interest in churches began here; though it had been sparked by an earlier visit to Norwich (which I still recall despite only being at the age of three), Woolpit church and the artwork within it galvanised my resolve to see and learn more, pushing me in the direction of churchcrawling and even choosing a related career as a stained glass artist.
Woolpit was the family home of my Uncle, Aunt and cousins so has been familiar over many visits since childhood. Later the ashes of my maternal grandparents (the only ones I knew) were buried here in the churchyard close to the north door, and more recently my Uncle Rod joined them nearby following his funeral here. He spent his last years living in the cottage next to the churchyard. It is a place full of memories to me.
Back in the late 1990s I submitted a design for a Millennium window for this church based on the famous local legend of the Green Children of Woolpit. It received some support and even Diocesan approval but was rejected in the end on the understanding that the village needed to mark the event with something for everyone, not just the church so an allotment was provided instead. My late Uncle's calligraphic text on the Green Children legend has hung in the church for many years.
So why is this church otherwise so special? It is a beautiful mostly 15th century building, distinguished externally by a handsome two-storied porch and an elegant tower and spire (a 19th century addition after the collapse of previous towers). Within however the real glory is in the medieval roof, the double-hammerbeam angel roof over the nave is one of the finest anywhere (the angels are skillful Victorian recreations by Henry Ringham after the originals were lost to iconoclasts centuries earlier but restore the intended effect beautifully).
The medieval benches are particularly special here, all of which feature animal carvings at either end which were spared by the iconoclasts since animals didn't offend them the way saints and angels did. The benches nearer the front of the nave are careful recreations following the originals but the whole set works as a united whole and the parade of quirky creatures up the aisles is a delight to behold.
My photos here don't do the church justice, I didn't have the chance to take any pictures here on my recent visit as I was catching up with family, so for the moment can only upload some handheld shots from previous visits, so until I get the chance to return and spend a while longer in here this meagre selection will have to do.
The church is usually kept open for visitors and shouldn't be missed, it is in my opinion one of the loveliest in East Anglia.
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.
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 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...
The village of La Romieu in Midi Pyrénées, France, is not only famous for its medieval architecture and the fact that it is on the route to Santiago de Compostella ; it is also known as the village of cats on account of a local story, about events which, allegedly, took place there in the 14th century and which certainly echoes the facts of a Europe which was plagued in general by bad weather, poor harvests and famine at that time.
Here is the story. A woodcutter by the name of Vincent, lived happily in La Romieu with his wife, Mariette. Their happiness was complete when their little daughter, Angéline was born. However, life took a turn for the worse. A tree toppled on Vincent and killed him and Mariette went into a decline and, only weeks later, died of a broken heart, the toddler still in her arms.
Luckily for Angéline, a kind neighbour took her in and brought her up as one of her own children and all was well for a time. Angéline was particularly fond of cats and usually had a couple playing around her.
Then misfortune struck again. In 1342 and for the three subsequent years, the winters were fiendishly cold and each followed by a wet Spring and summer. No crops could be sown and famine stalked the land. The villagers grew hungrier and hungrier, despite charity from the college canons and they eventually started to eat the local cats. Angéline's adoptive parents knew how this would upset her, so they allowed her to keep a pair of her cats secretly in the attic ; one male and one female.
Eventually the weather returned to its normal patterns and crops were sown and harvested. But now the rats moved in and started to devastate the land. Angéline by now had 20 kittens as well as the original two cats, so she offered to release them, on condition that they were not eaten. The villagers agreed, the rats disappeared and all was well once more.
Angéline spent the rest of her life in the village but was so involved with her cats that it is said that she grew pointed ears and , as she grew older, began to resemble a cat, herself.
And this is where the sculptures come in, for a visiting sculptor from Lorraine, one Maurice Serreau, heard the story in the early 20th century and offered to fill the village with stone cats and small sculpted cats like this one can be seen climbing houses and peeping through shutters all over the main square.
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.
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.
The church of St Nicholas at Kenilworth is the town's original parish church, a building founded at some point in the 13th century, which is ironic since its most celebrated feature is the superb Norman west doorway, a good century earlier. This appears to have been relocated here from the adjacent abbey following its demolition under Henry VIII. Much of the rest of the building (including the octagonal tower and spire) seems to have reached its present form in the mid 14th century, but it has undergone heavy restoration, partially as a result of Civil War damage but mostly later and subsequently the interior has a rather more Victorian veneer to it.
The interior is light and spacious (the nave more so than the dark and mysterious chancel beyond) and as stated above was much restored in the Victorian period. Most of the glass also dates from the latter part of the 19th century and little of it is especially memorable aside from the somewhat earlier heraldic window in the south transept by David Evans.
This church is one of the more visitor friendly ones in the area and is usually open and welcoming to visitors during the day. The nearby abbey park is also worth visiting for the remaining fragments of the ancient monastery.
The somewhat elusive St John the Baptist's church in Baginton is at first sight a deceptively simple building, the view on approach from the south-east being that of a modest two-cell structure of nave and chancel with a miniature (and rustically charming) tower and spire perched between the two. Moving around to the opposite side however reveals this building has undergone some extension with no less than two north aisles. Much of the present building is still in essence the original Norman one, albeit with alterations and additions mostly of the 14th century. Everything is built in warm red sandstone, as is the norm in the central and northern parts of Old Warwickshire.
The interior is rather different, both in terms of mostly whitened walls taking the place of the sandstone (and adding considerable lightness to what might otherwise have been a gloomy space) and being quite unlike any other ancient church in the county. From the west end the eye is drawn not to the usual single chancel arch but three of them (technically six as the openings into the chancel beyond are set much lower). The configuration is necessitated by the two central piers being required to support the tiny box-like tower above, while the alcoves on either side may have once contained altars and retain significant patches of ancient wall painting (mainly floral decoration). It is difficult to get much sense of the small chancel beyond until passing through the arches, from where it is revealed as an intimate space full of interest.
The most noteworthy features of the church are to be found adorning the walls of the chancel, with several imposing wall tablets and a very fine early 15th century brass commemorating Sir William Bagot & his wife who once lived in the nearby castle (of which little now remains). There are further patches of wall painting in other parts of the church and the nave retains most of its 18th century furnishings. The Victorian restoration here appears to have had very little impact aside from the Hardman glass in the east window.
Baginton is not the easiest of places to find, being squeezed between the outskirts of Coventry and its airport which adjoins the village. Despite being fairly local to where I grew up this church also eluded me until very recently, being normally kept locked and only open by appointment (my only prior visit ended in disappointment and the wording of the sign discouraged asking for the key without prior arrangement). Being part of a group visit finally gave me the access I wanted, but alas time was limited and the church was swiftly locked up again as we left. It's a shame they don't feel they can open it more often as it is a very rewarding building that deserves more visitors and wider appreciation.
Westminster Abbey is perhaps the most significant church in English History, site of the coronation of monarchs since it was founded by Edward the Confessor, and burial place of the majority of them, along with many other historical figures of note. It is first and foremost a superlative work of medieval architecture, from its soaring 13th-14th century nave, transepts and choir (all in a curiously French inspired version of Decorated Gothic) to the masterpiece of English Perpendicular, the incredibly lacy fan-vaulted Henry VII's chapel at the east end.
The Abbey is also a treasure house of ecclesiastical art, most of it monumental sculpture on the numerous tombs and effigies of almost every date ranging from the entire medieval period through to the 20th century; a somewhat cluttered interior, crammed full of interest, there is simply nothing else quite like it, no other church contains so many monuments.
The Abbey's monastic ranges partially survive, most notably the cloisters and superb chapter house; a short summary of the Abbey's riches is simply impossible. The monastery itself was shut down during the Dissolution, after which the Abbey briefly became a cathedral until its diocesan rank was revoked merely a decade later. Today it is designated a 'Royal Peculiar' owing to its unique status.
The Abbey is a textbook in stone of British history, and thus a hugely popular tourist attraction. It currently has more limited opening hours in the post-Covid recovery period and entry is not cheap, but happily after decades of a strict prohibition against photographers the rules have now been relaxed at last and visitors are now welcome to fully enjoy this marvellous building with their cameras!
For further details (and restrictions) see below:-
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
My visit coincided with the major 'Crucible' exhibition of contemporary sculpture (September-October 2010), examples of which I will upload in due course.
St Lawrence's in Ludlow could easily claim to be the grandest parish church in Shropshire but also one of the very finest and most rewarding medieval churches in the country. The tower may also be ascended for some fine views over the town of Ludlow and beyond.
Château de Noirmoutier is very well preserved and a fine example of 12th century medieval architecture. The first traces of the castle appeared in 830 with the construction of a castrum by the abbot Hilbold, from the monastery of Saint-Philbert. It served to defend the monks and the island's population from the Vikings. The castle was rebuilt in stone in the 12th century by the feudal power who was trying to stabilise the region, notably by preventing Norman pillaging. The island at that time was under the control of the barons of La Garnache. The keep was built by Pierre IV of La Garnache, then an enclosure equipped with towers was built around the lower courtyard. In the 16th century, the castle was held by the La Trémoille family, then viscounts of Thouars.
The castle has resisted numerous attacks, like the English in 1342 and 1360, and again in 1386 under the command of the Earl of Arundelthe Spanish in 1524 and 1588. In 1674 it was taken by the Dutch troops of Admiral Tromp.
Château de Noirmoutier was sold in 1720 to Louis IV Henri de Bourbon-Condé who resold it in 1767 to Louis XV. During the French Revolution, the castle served as a military prison. During the 19th century, the castle was used as a barracks. In 1871, during the Paris Commune, insurgents were imprisoned there. In 1960, a house was built within the castle grounds by the governor of the island and the castle. Today, the keep houses the Noirmoutier Museum.
The keep at the centre of the castle is solid and rectangular. Built of rubble, it has three floors with the lords' residence at the top. The keep has numerous murder holes and defensive turrets at the corners. The rectangular fortification consists of two towers, a single gate and two watch turrets in the four corners. At the beginning of the 18th century, the towers were reconstructed and the keep adapted for artillery.
References: Wikipedia
Founder's Window, St John's, Coventry.
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...
St Michael's at Stanton Harcourt is one of Oxfordshire's most rewarding churches, a real gem full of interest. The building is of largely 13th century dates (with alterations / additions in the following centuries) and retains its original cruciform plan. The latest addition is the Harcourt Chapel on the south side in 15th century Perpendicular, and one of the outstanding features of the church with its fine collection of tombs and monuments of the Harcourt family. The adjoining manor is visible from the churchyard, it's most noticeable feature being the detached 15th century tower situated opposite the west end of the church and thus almost appearing as if it belongs to it.
The church has several important medieval features within, from elements of ancient glass, a substantial part of the former shrine of St Eadburgha, further fine monuments and likley the earliest complete medieval rood screen. There is much to enjoy here and a visit is highly recommended.
The church is normally kept open and welcoming for visitors but the Harcourt Chapel is usually kept locked and visitors will have to be content with peering through the gates to see the tombs. I am extremely grateful to Martin Beek for organising this day and arranging for the chapel to be opened for us, with thanks also to the churchwarden who kindly gave her time for us to explore and photograph the monuments inside.