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The ruins of Kirkham Priory are situated on the banks of the River Derwent, at Kirkham, North Yorkshire, England. The Augustinian priory was founded in the 1120s by Walter l'Espec, lord of nearby Helmsley, who also built Rievaulx Abbey. The priory was surrendered in 8 December 1539 during the Dissolution of the Monasteries. Legend has it that Kirkham was founded in remembrance of l'Espec's only son who had died nearby as a consequence of his horse being startled by a boar. The area was later used to test the D-Day landing vehicles, and was visited by Winston Churchill. The ruins are now Grade I listed and in the care of English Heritage.
Gatehouse ruins
Kirkham Priory gatehouse ruins. The armorials of various benefactors are visible sculpted on stone escutcheons
The Gatehouse of Kirkham Priory, built c. 1290–95, is a specimen of English Gothic medieval architecture. It is a rare survival of such a gatehouse, comparable to that of Butley Priory in Suffolk. It has a wide arch of continuous mouldings with a crocketed gable running up to the windows, with sculptures of S.George and the Dragon on the left, and David and Goliath to the right. Above the arch is Christ in a pointed oval recess, plus two figures below of St. Bartholomew and St. Philip, in niches. There are also many escutcheons with the armorials of the various benefactors of the Priory, including the arms of de Ros, Scrope, de Forz, Vaux, FitzRalph & Espec (3 cart-wheels, each with 6 spokes).
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.
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.
Former Bishop of Chester
Bromsgrove parish church stands on high ground overlooking the centre of the town, it's tall proud steeple being very much a local landmark. St John the Baptist's is a largley 14th & 15th century building on a grand scale, its red sandstone giving it a warm hue.
The interior is broad and spacious and holds much of interest, most importantly several tombs with effigies from the late middle ages onwards. There was much restoration in the Victorian period and most of the glass dates from this time though shows an interesting mix of different studios.
St John's church is open to visitors at certain times but otherwise is often kept locked so it is best to check before planning a visit.
www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...
The north transept doorway (St Anne's Door) is adorned with the most complete surviving ensemble of medieval architectural sculpture on the cathedral's exterior (the similar south door was much altered in the 17th century and the west façade was almost totally renewed in the 19th). The voussoirs of the arch are carved with alternating bands of foliage and a multitude of small figures set in mandorla shapes, representing the heavenly host of saints and angels; although many have been badly weathered (and a few replaced) a good number of the late 13th century figures are still preserved (the central statuette of St Anne is Victorian).
Lichfield is our best known three-spired cathedral, and one I have visited many times over the years (both for business and pleasure).
The cathedral suffered more than most during the Civil War when the Close was besieged (twice) and the central spire shot down (the aftermath of which is memorably conjured in one of Kempe's windows). As a result of this (and the soft red sandstone) the cathedral has been heavily restored and nearly all the furnishings are Victorian, but there are some notable tombs and monuments, and every time I come here I seem to notice more medieval survivals of some kind in various corners.
This was my first visit since the Lady Chapel's vast swathes of Flemish glass was spirited up to York for restoration, and it'll be a couple more years before it returns. Meanwhile this normally rather dark interior has brightened up with clear glazing, suggesting the kind of atmosphere the cathedral must have had in pre-Victorian days when there was virtually no stained glass.
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.
Westminster Abbey's Chapter House played a crucial role as the birthplace of Parliament, being used as the King's Council Chamber throughout the Middle Ages and even as the House of Commons itself during the 14th century. Following the closure of the monastery in 1540 the building was repurposed as a repository of state archives, a role it retained until 1863. During this time the medieval interior was mostly hidden under wooden structures and partitions, the original vault was removed (replaced by a flat wooden ceiling) and the great gothic windows were largely blocked in, losing most of their tracery in the process. Old illustrations and photographs show the building in a form unrecognisable from what we see today.
Salvation came with George Gilbert Scott's restoration in 1866-72, which saw the vault and windows reinstated to the original design. Much more was revealed besides, with a remarkable series of wall paintings uncovered (boarded over for centuries) along with a superb medieval tiled floor. Important medieval sculpture survives above the doorway in the figures of Gabriel and Mary (the latter also discovered in situ hidden behind boards).
The interior we see today is thus much restored but upon the basis of reliable evidence and incorporating unique surviving medieval artwork.
www.westminster-abbey.org/about-the-abbey/history/chapter...
Westminster Abbey is perhaps the most significant church in English History, site of the coronation of monarchs since it was founded by Edward the Confessor, and burial place of the majority of them, along with many other historical figures of note. It is first and foremost a superlative work of medieval architecture, from its soaring 13th-14th century nave, transepts and choir (all in a curiously French inspired version of Decorated Gothic) to the masterpiece of English Perpendicular, the incredibly lacy fan-vaulted Henry VII's chapel at the east end.
The Abbey is also a treasure house of ecclesiastical art, most of it monumental sculpture on the numerous tombs and effigies of almost every date ranging from the entire medieval period through to the 20th century; a somewhat cluttered interior, crammed full of interest, there is simply nothing else quite like it, no other church contains so many monuments.
The Abbey's monastic ranges partially survive, most notably the cloisters and superb chapter house; a short summary of the Abbey's riches is simply impossible. The monastery itself was shut down during the Dissolution, after which the Abbey briefly became a cathedral until its diocesan rank was revoked merely a decade later. Today it is designated a 'Royal Peculiar' owing to its unique status.
The Abbey is a textbook in stone of British history, and thus a hugely popular tourist attraction. It currently has more limited opening hours in the post-Covid recovery period and entry is not cheap, but happily after decades of a strict prohibition against photographers the rules have now been relaxed at last and visitors are now welcome to fully enjoy this marvellous building with their cameras!
For further details (and restrictions) see below:-
St Mary's commands the high ground above the pretty village of Kersey, a delightful landmark seen from afar, beckoning the visitor onwards. The village itself sits in the valley, so to reach the church one must climb beyond it, but it is worth the effort (not the easiest of bike rides, the steep ascent to the church had me back on foot again rather quickly (to the amusement of some visitors) whilst Simon patiently waited for me up top).
St Mary's is a grander edifice than most we had visited that day, asserting its presence with its majestic west tower, its parapet adorned with pretty flushwork as is the impressive south porch. The church itself consists of the 14th century nave and spacious north aisle whilst the chancel beyond was rebuilt in Victorian times. The north aisle's proportions in fact match those of the nave in width, most likely as a result of accommodating the shrine of Our Lady of Kersey prior to the Reformation (it seems likely an equally grand south aisle would have been planned but was never realised).
Within the light interior reveals itself to be a rather complex and unusual one, the nave and aisle being divided equally by a delicate arcade whose moldings are adorned with tiny carvings of lion-heads issuing foliage. The nave itself is otherwise somewhat austere, though originally would have been enlivened by an angel roof. The medieval roof is still there but shorn of its ornamentation, the eight angel figures carved into the hammerbeams have sadly been mutilated by the puritans and reduced to headless draped bodies. The ancient font survives but has also suffered some damage to its carving. The wooden eagle lectern however also appears to be genuine medieval work and in fine condition.
The north aisle is the more inviting space, lighter and full of interest. On the north wall is a large niche which is presumed to have been the site of the ancient shrine and now contains fragments of medieval sculpture. This was originally a very richly adorned space, the east end has remains of heavily mutilated niches that once towered either side of the east window, one of which contains a beautiful fragment of medieval sculpture, a headless figure of St Anne with preserved polychrome. All around the aisle at ceiling level is a carved frieze that must have once been heavily populated with figurative imagery and angels, but it has been so ruthlessly butchered by iconoclasts as to be impossible to read.
More inspiring survivals can however still be enjoyed. The sedilia adjoining the eastern most arch is a delightful piece of mid 14th century work, pierced so as to communicate with the chancel. The niches contain delicate miniature vaults with some interesting carved heads (easily missed) though the work was never entirely finished (likely cut short by the Black Death). Adjoining this is displayed the last remaining section of the lower part of the rood screen with six painted figures in colourful late medieval dress (St Edmund, two kings and three prophets).
This is a church of great interest in an area of great beauty and well worth visiting (I am so glad we came here as this was a last minute addition to our itinerary and a lovely surprise) . The renown of Kersey as one of Suffolk's most attractive villages ensures it remains popular with visitors and thus is normally open and welcoming on a daily basis.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
Detail of the mural decoration of the chapel of St Andrew off the south transept at Gloucester. The painting is the work of Thomas Gambier Parry from 1866-8.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a separate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a separate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
Detail of one of the series of Victorian stained glass windows by Hardman's of Birmingham in the cloisters at Gloucester.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
My visit coincided with the major 'Crucible' exhibition of contemporary sculpture (September-October 2010), examples of which I will upload in due course.
The iconic medieval Chillon Castle near Montreux was one of the main reasons for me to visit Switzerland. I saw the photos of this romantic castle with fairy tale medieval architecture when I was young. At that time I thought that the Chillon Castle was in Geneva! It was a mistake of course. Regardless, I was glad that I could see this in person and consider it to be my top experience in Switzerland. Chillon Castle was the third excursion I did with my French teacher. We had a great time.
Below is some more information on the Chillon Castle from Wikipedia:
"Chillon is amongst the most visited castles in Switzerland and Europe. Successively occupied by the house of Savoy then by the Bernese from 1536 until 1798, it now belongs to the State of Vaud and is classified as a Swiss Cultural Property of National Significance."
Situated at Warwickshire's south-eastern fringe on the slopes of Edgehill, Shotteswell is an idyllic and secluded place, set away from the main road with a sense that the present era has left it largely untouched. Most of its buildings are constructed from the delightful honey-coloured local ironstone and the ancient church shows this off well. St Laurence's dates back to the 12th century and Norman work is still visible within, although the exterior has been much altered since. The sturdy tower bears a short spire and has belfry windows clearly renewed in the Victorian period, though happily the remainder of the church shows far less evidence of such interventions.
The interior betrays the church's antiquity, with the north arcade of the nave retaining its low Norman columns and arches (the south side is Gothic of a century or two later). There is a real sense of history in this church, a rustic charm which has been left unmodified by later restorers. Much of the woodwork here is ancient and quite special, including the screen and pulpit on the north side, and the astonishing sequence of Flemish Renaissance carvings now serving as a reredos in the chancel. The windows are entirely clear glazed, which at least admits plenty of light.
My introduction to Shotteswell church was more unusual, arriving for the first time only to find to my surprise two former colleagues working on the roof, so naturally moments later I was up there with them. There church was having much work done at the time and Norgrove Studios releaded almost the entire glazing in due course. (I even helped out latterly on one or two occasions). The spire was restored too (I got to ascend the tower and have a chat with the masons too) and on a few occasions a charming couple connected with the church treated we three glaziers to lunch in their lovely garden nearby. Good times, good place.
St Laurence's is normally open to visitors during daylight hours, as happily are most of the churches in the Edgehill area.
Burford is a popular destination on the tourist trail through the Cotswolds and its high street is always a bustling place, busy with traffic. The magnificent church of St John the Baptist is less conspicuously placed, being set back down a quiet side street on the edge of this small town, but beckons the visitor onwards with its elegant spire atop its handsome central tower. What rewards the visitor who comes this way is one of the most rewarding of parish churches, a delightful building full of interest.
The church dates back to Norman times but has been mostly remodeled and extended beyond recognition throughout the later Middle Ages so that it appears mostly to be a fine Perpendicular wool church, however the lower half of the tower is still the original 12th century Norman structure (the upper half with its fine ogee-arched windows is 15th century) and the ornately carved west doorway of the nave also remains. The church was made cruciform by the addition of transepts in the 13th century and further aisles and chapels were added later and give the church a rather unusual (one might say confusing) form and layout, culminating in the handsome south porch being flush with the outer walls (rather than projecting) and a large Lady Chapel occupying the southwest corner (originally a separate building but connected during 15th century alterations).
Entering by the delightful south porch with its impressively ornate facade the first feature we notice is the exquisite fan vault of the porch, a wonderfully luxurious addition, unusual in a parish church. The first sight inside the church proper can be a little bewildering due to the profusion of pillars and chapels, but the main impression is that of a 15th century church with a Norman crossing, and standing beneath the tower reveals its arcaded interior, the most ancient part of the church. The Lady Chapel at the west end is a vast space, the largest of the side chapels whilst the smallest is diagonally opposite, a free-standing chantry chapel within the nave that survived through conversion to a family pew after the Reformation, and has been richly decorated since its Victorian restoration.
The 14th century font is carved with sadly damaged figures in niches, including a defaced Crucifixion. Fragments of medieval glass survive in places but most dates from the Victorian period with a few windows in the nave by Kempe. The best glass however is the Arts & Crafts window on the south side by Christopher Whall. The church is packed full of monuments, though surprisingly few bear much in the way of effigies or sculpture aside from the enormous Tanfield monument from the early 17th century that fills the north east chapel with recumbent effigies beneath an imposing canopy.
Burford church is one that shouldn't be missed, both for its handsome exterior and its wealth of interesting features within. My photo coverage alas does not do it justice since they are from my last visit in 2011 with my previous camera which was much more limited in scope. The church is happily kept open and welcoming to visitors on a daily basis.
For a fuller account with photos see below:-
Tostock is a name I'd seen on road signs so many times from childhood en route to visiting relatives in a neighbouring village and yet I'd never set foot in the place until now. I had heard the church was worth seeing, especially for its wood carvings, and was not disappointed.
St Andrew's at Tostock stands at the eastern edge of this peaceful village, enclosed in its delightfully rural churchyard set back from the road. It is a fairly small building and externally most features point towards a 15th century / late medieval date. It is a building of real charm on a small scale, though whilst the nave is fairly short it is exceedingly wide despite the lack of aisles, an unusual arrangement.
Inside the width of the nave is all the more apparent, it almost seems as wide as it is long, and all under its handsome original double-hammerbeam roof (sadly shorn of its original embellishments by post-Reformation iconoclasts, though the headless remains of the small carved post-figures of saints remain on the pendants. Originally there would most likely have been angels looking down from the sawn off rafters). It has to be said the interior on the whole has a surprisingly Victorian feel to it thanks to restoration and many of the fittings, and yet the greater part of the woodwork in here is medieval.
The real treasure of this church is its collection of late medieval benches, all carved with figurative (mainly animal) adornments and poppyheads as are found in several of the better known churches in this part of Suffolk. As in other such cases these have been augmented by cleverly matched Victorian work but this is mostly concentrated at the front few rows of the nave and the bulk of the rest is genuine original work. The only disappointing factor is the condition of some of them, many of the figures have suffered damage over the years (wear & tear rather than deliberate vandalism) and quite a few of the creatures lack faces or limbs; it should be remembered however that more famous sets nearby look so complete because they have seen careful restoration of their more timeworn elements, whereas at Tostock the originals have been left untouched by the carvers who only added newer figures to augment them.
Tostock church is well worth a look for anyone who enjoys the carved animal benches of East Anglia (they are the main attraction here), and happily normally seems to be kept open for visitors to admire.
San Gimignano is a small walled medieval hill town in the province of Siena, Tuscany, north-central Italy. Known as the Town of Fine Towers, San Gimignano is famous for its medieval architecture, unique in the preservation of about a dozen of its tower houses, which, with its hilltop setting and encircling walls form "an unforgettable skyline". Within the walls, the well-preserved buildings include notable examples of both Romanesque and Gothic architecture, with outstanding examples of secular buildings as well as churches. The Palazzo Comunale, the Collegiate Church and Church of Sant' Agostino contain frescos, including cycles dating from the 14th and 15th centuries.[2] The "Historic Centre of San Gimignano", is a UNESCO World Heritage Site. The town also is known for the saffron, the Golden Ham and its white wine, Vernaccia di San Gimignano, produced from the ancient variety of Verna
PROVINCE OF SIENA
Population (31 May 2009)
• Total270,333
The Province of Siena (Italian: Provincia di Siena) is a province in the Tuscany region of Italy. Its capital is the city of Siena.
Geography
The province is divided into seven historical areas:
1. Alta Val d'Elsa
2. Chianti senese
3. The urban area of (Monteriggioni and Siena)
4. Val di Merse
5. Crete senesi Val d'Arbia
6. Val di Chiana senese
7. Val d'Orcia and Amiata
The area is a hilly one: in the north is Colline del Chianti; Monte Amiata is the highest point at 1,738 metres (5,702 ft); and in the south is Monte Cetona. To the west are the Colline Metallifere (“Metallic Hills”), whilst the Val di Chiana lies to east. Historically, the province corresponds to the former Republic of Siena.
The chief occupations are agricultural (wheat, grapes and fruit) and silk culture. The wine known as Chianti is produced here as well as in other parts of Tuscany: the Chianti Colli Senesi, however, is limited to this province.
Apart from the city of Siena the principal towns are Poggibonsi, Colle di Val d'Elsa, Montepulciano.
Originally built in the 14th century and burned multiple times, this ruined church also included a hospital in the 1600s.
Located in the Aberdeenshire village of Kincardine O'Neil, Scotland.
St John the Baptist's church in Brinklow is an attractive largely 15th century building standing on high ground, a position especially apparent within as the floor level rises considerably towards the east end, the altar being set much higher than the west end of the nave.
The nave and west tower are rather rustic examples of the Perpendicular style, though the church's origins are much earlier with the chancel still largely a 13th century structure.
The church was restored in the Victorian period from which belong some of the brightly coloured chancel windows, but the most important glass consists of a few early 15th century fragments, some depicting birds, found in the north and south aisles.
The church is generally open and welcoming to visitors.
St Mary's at Parham stands proudly in a quiet spot a short distance off the main road through the village. The first sight of it on approaching is impressive, the sturdy west tower looks a little serious with its flat-top parapet but is enlivened by a large empty niche on its west face, an unusual embellishment (presumably once home to a Crucifixion or Coronation of the Virgin group, we will never know for sure). There are some nice touchses of flint flushwork on the tower buttresses but most significantly on the north porch, obviously once the grand entracne but no longer used as such, the west door being the preferred entry nowadays.
One walks stright in through the tower to be greeted by the full lenght of the interior, a light and cheerful space with focus very much on the chancel beyond, there being no side aisles to the nave to divert the eye sideways. The whitened walls and lack of coloured glass (beyond a few medieval fragments in the east window) make the interior pleasingly bright (even as conditions were taking a turn for the overcast outside). A few touches of colour are on hand to provide some warmth amidst the whiteness, the medieval rood screen survives (all pierced openings without painted panels) and has been enthusiastically recoloured, whilst beyond the more recent reredos bears a Last Supper.
The fittings here aside from the screen (and one bench carving that I missed) are all of the 19th century restoration as is the nave roof with its character corbels. The font with traceried panels is 15th century and an intriguing group of carved shields amassed in the north east corner also appears to late medieval (relics of a lost tomb?) and a few nice 15th century angels can be seen in the tracery of the east window.
I really liked Parham church, a handsome building with a pleasing atmosphere within, found open and welcoming in normal times.
For more on this fine church see its entry on the Suffolk Churches site 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 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 church of St Edward the Martyr sits at the highest point of the large village of Castle Donington as it has done for centuries, most of the present structure dating from the 13th to the 15th centuries though its origins are earlier still.
The building is of an impressive size, both chancel and nave are of considerable length with the latter flanked by aisles on either side, giving the interior a sense of spaciousness. The west end is dominated by the tower and its tapering spire, a landmark for miles around.
The church contains some notable medieval tombs and an extensive collection os stained glass windows (mostly Victorian aside from one notable recent addition).
In common with the majority in Leicestershire St Edward's is normally kept locked outside of services. I got lucky as a nice lady had opened early on a Saturday morning to do some cleaning and was happy for me to look around. It is a rewarding church so I'm very grateful to her and glad I timed my visit so well!
www.leicestershirechurches.co.uk/castle-donington-st-edwa...
St Helen's church at Ranworth has much of interest but is justly renowned for its wonderfully preserved rood screen, dating back to the 15th century and still adorned with an amazing sequence of painted saints.
The building itself is almost entirely of 15th century date, with a soaring west tower and nave and chancel both aisless but of different widths, the latter much narrower but this transition is nicely accommodated by the rood screen which extends the full width of the wider nave, the extremities serving as parclose chapels, complete with separate altars and reredoses but otherwise structurally continuous with the screen.
The interior would be somewhat spartan without the screen, a large open space with little other adornment. The display of images painted on the screen makes a matter of little consequence, it is one of the best displays of medieval art in the country, with particularly famous images of St Michael & St George on the parts that extend outwards. Despite the preservation of the imagery, there was clearly some iconoclasm as most of the faces are less well preserved (looking as if someone has tried to rub them away), but fortunately most of the features are still discernable (the under-drawing showing through in many instances).
The chancel beyond the screen contains medieval stalls with a few simple misericords and a few old poppyheads can be enjoyed on the bench ends in the nave.
The church is generally kept open and welcoming for visitors to enjoy (don't come too early though, it was locked when I arrived so I went of to see somewhere else, only to return and find it still shut but fortunately a lady appeared before long to unlock, after the vicar had assured me by phone the church would be opened shortly).
One special treat here is the access to the tower, visitors are able to climb to the roof for some fine views over the surrounding countryside (I timed my ascent badly as a big group had just turned up purely to do the same). A spiral staircase takes visitors to belfry level, and then one completes the climb via a couple of ladders leading to a hatch in the roof. If only more churches would take a leaf out of Ranworth's book to offer this rare treat.
www.heddal-stavkirke.no/english.htm
Heddal Stave Church is not only a medieval architectural masterpiece, but also a living church for today's congregation. The church is the largest of the 28 stave churches still remaining in Norway. There appear to have been 750 - 1200 stave churches in Norway, but in the 19th century most of them were replaced by new, more "modern" churches.
We don't know when the church was built or if it was built in one or two sections. The experts are still studying the matter. What we do know is that the church was built later than the year 1196. On the wall in the exterior passasge, you can see Runes inscribed, telling that the church was consecrated and dedicated to the holy virgin Mary, maybe in 1242.
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 tounged and grooved, and only wooden nails - no metal nails - were used when constructing this church.
Thanks to the exceptional quality of the building material used, along with good ventilation through the stone foundation, the church still contains as much as 25 - 30 % of the original material. During the centuries, Heddal Stave Church has, with variable success, been repaired and restored. In 1952 -54 it was restored with the purpose of bringing it back as close as possible to the original state.
The outside of the church was protected by tar. The church is now regulary 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 attatching firmer to the tiles. With great success mountain climbers are now engaged to do the tarring.
In 1998 a project of replacing all the roof-tiles was started. In co-operation with our nathional authorities on ancient history, this work is now performed with original matherial and thecniques; all by hand and by specially educated local carpenters.
Inside the church you can see a beautiful wooden carved chair, dated around 1200. The bapism- 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 Gouvernment 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. A picture of this in natural size can be seen in the exhibition in the "barn".
Before the reformation reached our country in 1537, Heddal Stave Church was Roman- Catholic. Since then the church has been Lutheran. From the Catholic period there remains a bronze insence burner, hanging to the left in the chancel.
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.
Jewel Tower, Old Palace Yard, Westminster, London SW1.
Grade l listed.
The Jewel Tower was built around 1365 to house King Edward III’s treasury and the office of its administrators. It was added to the south-west corner of the palace of Westminster within the walls of its enclosure, as part of the Privy Palace. The Jewel Tower is the only surviving element of the Privy Palace, the rest of which was destroyed by fire in 1512, and it is one of only four elements surviving from the whole of the palace of Westminster. It served as a base for the king’s Privy Wardrobe until the 16th century. In 1621 it was adapted for use by the Parliament Office, serving as the record office for the House of Lords. After 1716, following a petition to repair its ruinous condition, the tower lost many of its medieval architectural elements and assumed its present appearance. Between 1867 and 1938, the Jewel Tower was the base for the Weights and Measures office. Following post-war conservation works and clearance of surrounding houses in Abingdon Street and Old Palace Yard, the Jewel Tower moat was re-excavated and a small garden laid out.
Westminster Abbey - The Collegiate Church of St Peter.
Grade l listed.
West towers 1735-40 by Nicholas Hawksmoor (1661-1736).
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 Vaduz Castle is the official residence of the Prince of Liechtenstein. This beautiful castle is not open to visitors. However, its medieval architecture and grandeur are truly impressive. It is much bigger than I thought, not to mention its beautiful view. Many tourists enjoyed the view of the Vaduz Castle. I met people from many different countries during this walk.
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.
Kirkwall, Orkney, Scotland.
"St Magnus Cathedral is the most northerly cathedral in the United Kingdom, a fine example of Romanesque architecture built for the bishops of Orkney when the islands were ruled by the Norse Earls of Orkney. It is owned not by the church, but by the burgh of Kirkwall as a result of an act of King James III of Scotland following Orkney's annexation by the Scottish Crown in 1468. It has its own dungeon.
Construction began in 1137, and it was added to over the next 300 years. The first bishop was William the Old, and the diocese was under the authority of the Archbishop of Nidaros in Norway. It was for Bishop William that the nearby Bishop's Palace was built."
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.
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...
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 Mary's church, Bitteswell, near Lutterworth, Leicestershire.
A handsome 15th century church heavily restored by the Victorians (the chancel, nave arcade and north aisle all appear to have been rebuilt at this time)
The tall west tower with it's contrastingly stubby spire is somewhat distinctive. It's south wall has an empty tomb recess set into it.
We arrived too early to find the church open on this occasion, which wasn't a disaster as I've been in before, but as a result I still haven't seen the new window by Derek Hunt in the north aisle.
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.
Brass eagle lectern
The Postcard
A postally unused carte postale published by Neurdein & Cie with photography by Antony of Ypres.
The card bears an image of Les Halles in Ypres, which had been standing since 1285, at two early stages of their destruction during the Great War.
The first photograph was taken on the 22nd. November 1914, and the second was taken on the 15th. June 1915.
In the second photograph, the entire roof has been obliterated.
Note the scaffolding around the central tower which had been erected in order to shore the tower up. The shoring-up exercise proved to be utterly futile, because later in the Great War, this medieval architectural masterpiece was reduced to little more than a pile of rubble.
Visé Paris
The reference to 'Visé Paris' means that the image has been inspected by the military authorities in the French capital and deemed not to be a security risk.
'Visé Paris' signifies that the card was published during or soon after the end of the Great War.
Ypres
Ypres is a Belgian municipality in the province of West Flanders. Though the Dutch Leper is the official name, the city's French name Ypres is most commonly used in English.
During the First World War, Ypres (or 'Wipers' as it was commonly known by the British troops) was the centre of the Battles of Ypres between German and Allied forces.
The famous Cloth Hall was built in the 13th century. At this time cats, then the symbol of the devil and witchcraft, were thrown from the Cloth Hall in the belief that this would get rid of demons. Today, this act is commemorated with a triennial Cat Parade through the town.
-- Ypres in the Great War
Ypres occupied a strategic position because it stood in the path of Germany's planned sweep across the rest of Belgium and into France from the north (the Schlieffen Plan).
The neutrality of Belgium, established by the First Treaty of London, was guaranteed by Britain; Germany's invasion of Belgium brought the British Empire into the war. The German army surrounded the city on three sides, bombarding it throughout much of the war. To counterattack, British, French, and allied forces made costly advances from the Ypres Salient into the German lines on the surrounding hills.
-- The First Battle of Ypres
In the First Battle of Ypres (19th. October to 22nd. November 1914), the Allies captured the town from the Germans. The Germans had used tear gas at the Battle of Bolimov on the 3rd. January 1915.
-- The Second Battle of Ypres
The Germans' use of poison gas for the first time on the 22nd. April 1915 marked the beginning of the Second Battle of Ypres, which continued until the 25th. May 1915.
They captured high ground east of the town. The first gas attack used chlorine. Mustard gas, also called Yperite from the name of the town, was also used for the first time near Ypres, in the autumn of 1917.
Vera Brittain was an English Voluntary Aid Detachment nurse, writer, feminist and pacifist who made the following observation in her 1933 memoir, 'Testament of Youth':
“I wish those people who talk about going
on with this war whatever it costs could see
the soldiers suffering from mustard gas
poisoning.
Great mustard-coloured blisters, blind eyes,
all sticky and stuck together, always fighting
for breath, with voices a mere whisper, saying
that their throats are closing, and they know
they will choke.”
-- The Third Battle of Ypres
Of the battles, the largest, best-known, and most costly in human suffering was the Third Battle of Ypres (31st. July to 6th. November 1917, also known as the Battle of Passchendaele), in which the British, Canadian, ANZAC, and French forces recaptured the Passchendaele Ridge east of the city at a terrible cost of lives.
After months of fighting, this battle resulted in nearly half a million casualties to all sides, and only a few miles of ground won by Allied forces. During the course of the battle Ypres was all but obliterated by artillery fire.
-- Lieutenant-Colonel Beckles Willson
In 1920 Lieutenant-Colonel Beckles Willson wrote:
'There is not a single half-acre in Ypres
that is not sacred.
There is not a single stone which has not
sheltered scores of loyal young hearts,
whose one impulse and desire was to fight
and, if need be, to die for England.
Their blood has drenched its cloisters and
its cellars, but if never a drop had been spilt,
if never a life had been lost in defence of
Ypres, still would Ypres have been hallowed,
if only for the hopes and the courage it has
inspired and the scenes of valour and sacrifice
it has witnessed'.
-- Ypres Today
After the Great War the town was extensively rebuilt using money paid by Germany in reparations, with the main square, including the Cloth Hall and town hall, being rebuilt as close to the original designs as possible (the rest of the rebuilt town is more modern in appearance).
The Cloth Hall today is home to the 'In Flanders Fields Museum', dedicated to Ypres's role in the First World War and named after the 'Poppy' poem by John McCrae.
Ypres these days has the title of 'City of Peace' and maintains a close friendship with another town on which war had a profound impact: Hiroshima. Both towns witnessed warfare at its worst: Ypres was one of the first places where chemical warfare was employed, while Hiroshima suffered the debut of nuclear warfare.
Ypres hosts the international campaign secretariat of Mayors for Peace, an international Mayoral organisation mobilising cities and citizens worldwide to abolish and eliminate nuclear weapons by the year 2020. It didn't happen.
Westminster Abbey's Chapter House played a crucial role as the birthplace of Parliament, being used as the King's Council Chamber throughout the Middle Ages and even as the House of Commons itself during the 14th century. Following the closure of the monastery in 1540 the building was repurposed as a repository of state archives, a role it retained until 1863. During this time the medieval interior was mostly hidden under wooden structures and partitions, the original vault was removed (replaced by a flat wooden ceiling) and the great gothic windows were largely blocked in, losing most of their tracery in the process. Old illustrations and photographs show the building in a form unrecognisable from what we see today.
Salvation came with George Gilbert Scott's restoration in 1866-72, which saw the vault and windows reinstated to the original design. Much more was revealed besides, with a remarkable series of wall paintings uncovered (boarded over for centuries) along with a superb medieval tiled floor. Important medieval sculpture survives above the doorway in the figures of Gabriel and Mary (the latter also discovered in situ hidden behind boards).
The interior we see today is thus much restored but upon the basis of reliable evidence and incorporating unique surviving medieval artwork.
www.westminster-abbey.org/about-the-abbey/history/chapter...
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:-
Wells Cathedral is a magical place to me, having cast a spell over me from the very first time I laid eyes on it as a seven-year old when it started to be a regular break on our journeys south west for childhood holidays. Although it wasn't the first cathedral I'd encountered it was the first I'd seen after developing a more conscious interest in church art and architecture and it seemed to me like something from another world (which in many ways it is). I never forgot the impression it made, its beauties inside and out, and having not visited for nearly three decades I decided getting reacquainted was long overdue.
Described as England's 'Queen amongst cathedrals' it is not as huge as some but it is as beautiful as any, and its setting within the enclosure of a charming cathedral close that constitutes a large part of this modestly-sized but picturesque cathedral-city just adds to its qualities. Its three towers beckon the visitor through the turreted gates that connect the close to the market place and to walk through these and behold the west facade for the first time is an unforgettable experience. The central tower is a beautiful example of Somerset's pinnacled late Gothic masterpieces, and yet it almost disappears, practically forgotten, when one encounters the rich display between the two western towers with their curiously flat parapets. These towers are also mainly 15th century work, but below them, and built two centuries earlier, the facade unfolds like a huge screen covered with niches, most of which remarkably retain their original statues, the largest display of medieval sculpture surviving in England.
Currently visitors are directed to enter via the cloisters on the south side rather than through the surprisingly small, almost apologetic doorways burrowed through the base of this astonishing facade, so it is important to spend some time absorbing it before entering the building. Once inside the effect is rather calmer than the riot of ornamentation on the west front, and the scale a little more intimate and inviting than many cathedral interiors. Most of it is early 13th century and harmonious in style, but it is a later addition that draws the eye looking down the nave, the unique 'scissor arches' installed to brace the crossing in order to stabilise the central tower following signs of movement. The transepts beyond are of the same date and design as the nave, whilst further east the more ornate choir is a little later, being completed in the early 14th century. Beyond this the retrochoir and polygonal Lady Chapel with their delicate pillars and vaults form one of the most delightful and visually satisfying of English medieval interiors.
Furnishings and features of interest are plentiful as one explores the church admiring the beauty of its architecture, with much medieval glass surviving at the east end, the east window and the adjoining clerestories having survived almost intact (more survives in the choir aisles and lady chapel though aside from the traceries most is in a fragmentary state). Many medieval bishops effigies are to be seen (many forming a posthumous 13th century commemoration of earlier Saxon bishops) along with three chantry chapels. In the north transept is the famous medieval astronomical clock with its painted dials and jousting knights marking the quarter hours.
One of the most exquisite features is the chapter house also on the north side, approached via a delightfully timeworn staircase and covered by a particularly attractive vaulted ceiling. It is one of the highlights of the building and shouldn't be missed. The cloisters on the south side are also a delight to wander through and were one of the last major additions to the cathedral.
Wells Cathedral is without a doubt one of the country's greatest treasures and in my mind one of the most beautiful churches anywhere and even its surroundings are a joy to explore. Happily it now at last appears to be reopening after the long hiatus of lockdown, it deserves to be visited and enjoyed again by all once the present crisis is over.
A small but vibrant church in the heart of Oxford, St Mary Magdalene's sits on a constricted island site between roads, thus what it lacks in length it makes up for in width with its four aisles (making the church seemingly wider than it is long). The building we see today is largely of 13th - 15th century date but has been heavily restored in the Victorian period (the north aisle being entirely the creation of Sir George Gilbert Scott, forming a more harmonious backdrop to his nearby Martyrs' Memorial). The late medieval west tower also has a very much renewed appearance owing to its refacing with new stonework during 20th century restoration.
The interior of the church thus feels very much Victorian in spirit, given the heavy restoration, and abundance of Victorian glass and furnishings. It is however clearly a space well used and loved, and its multiple aisle give it a more complex yet intimate atmosphere.
The outer south aisle forms the Lady Chapel and is the most interesting part of the interior for its older features. The most notable element however is the striking late medieval font now sited by the main entrance at the west end of the north aisle; this florid curvaceous design with its surface decoration of tracery was widely copied in the Victorian period resulting in numerous clones elsewhere (which makes this one all the more special for being the parent of so many of its brethren!).
I only had time for a short visit on this occasion (hence the photos taken on my phone) as I was preparing to meet up with Martin & Lawrence nearby for an excellent day churchcrawling together. This church is however normally kept open and welcoming to visitors.
The church of Our Lady & St Nicholas at Wanlip is a mostly 14th century building consisting of west tower, nave and chancel, with a Victorian addition of porch and chapel on the south side.
We'd arrived a bit too early on Heritage weekend / ride & stride day so were unable to get inside, a pity as it looked interesting, but at least some of the external carvings and headstones in the churchyard rewarded our short time here.
All Hallows in Wellingborough, a most rewarding church particularly renowned for its modern glass, some of the best in the country, That is if you can get inside to see it.
Be wary of any online info suggesting visitors are welcome on weekday mornings (Tues, Wed, Fri and Sat 10-12 were mentioned, and after a period of closure for repair in April 2018 their own newsletter claimed they were 'open again in May'). Having made a special trip here to coincide with listed opening times only to find the church locked tight was a bitter disappointment.
I had been inside once before in my pre-digital days on a dull November afternoon so was all the more eager to return and finally get some decent shots of the glass.
I tried to hunt down a key or someone who might be willing to open up but had no luck. I was told they are having a problem finding stewards and won't open without them.
I have since however been told by a member of the clergy here that the safest times to visit are Wednesday and Saturday mornings 10-12 so hopefully may have better luck trying again if I time it right.
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...
St Michael's & All Saints church sits above a sloping field some distance to the south of the quiet village of Loddington, one of the more remote and rural of churches reached by walking some distance across the field and along a tree-lined track before the ironstone building is revealed in its beautifully enclosed and leafy churchyard. It would be easy to miss from the road, hidden away behind the dense foliage, and there is little opportunity to park nearby. Regardless the church continues to hold worship despite its isolated setting.
The building is largely of 14th-15th century date and after the warm tones of its caramel-brown exterior the light whitewashed interior comes as a bit of a surprise. The building has been restored though retains some features of antiquarian interest such as the fragments of old glass in the chancel.
Loddington church used to be kept locked outside of services but appears to be open more regularly these days. We met a local gentleman here on arrival who was doing a great job of keeping the churchyard in good order.
www.leicestershirechurches.co.uk/loddington-church-st-mic...