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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.
Wikipedia: The Powder Tower is one of the original 13 city gates in Old Town, Prague. Its construction began in 1475.
St Botolph's at Newbold on Avon (now virtually a suburb of Rugby) is one of the more interesting of the historic churches in this part of Warwickshire with a collection of monuments to the Boughton Family of various dates.
The nave and tower date mostly from the 15th century rebuilding but the plain chancel was rebuilt in the early Victorian period. The interior is light with little Victorian stained glass, here confined to the nave aisles (three by Heaton, Butler & Bayne on the north side, one by Burlison & Grylls on the south). The main east window is mostly plain.
The monuments are from distinct periods, two 15th century tombs in the south aisle have flat incised slabs with the images of Geoffrey Allesley and John Boughton with their respective wives. Also in the south aisle two wall monuments with small, rather folksy figures carved in relief to two generations of the Boughton family (of Little Lawford Hall). The largest of all is that to William Boughton & wife from 1716, a rather pompous Baroque piece with standing figures that dominates the chancel.
This a church that certainly rewards the visitor but alas is normally kept locked, though there may be a keyholder available (I got no answer from the one listed on their website, though some information on there (such as openings on Thursdays) appears to be long out of date and in the end I called the vicar who very kindly unlocked the church for me).
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.
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:-
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.
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:-
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...
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.
Abbeygate Street
Bury St Edmunds in Suffolk is a unique and dazzling historic gem. An important market town with a richly fascinating heritage, the striking combination of medieval architecture, elegant Georgian squares and glorious Cathedral and Abbey Gardens provide a distinctive visual charm. With prestigious shopping, an award-winning market, plus variety of attractions and places to stay, Bury St Edmunds is under two hours from London.
Enjoy a colourful day in historic Bury St Edmunds with its marketplace full of bustling bright stalls right at the heart of this thriving town (Wednesday and Saturday), complete with its brand new shopping experience, the Arc. Browse for a bargain or wander the small streets packed with independent shops. Take a stroll through the picturesque Abbey Gardens to admire the cathedral’s new tower or hear the stories of the town’s rich history on a guided walk. There are plenty of inviting coffee shops and restaurants along the way for that light-bite or special shopper’s treat, then again, if you have a taste for a bit of local flavour and a pint of real ale, why not pop in for a tasty tour of the Greene King Brewery?
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.
Monument to Elizabeth Williams (a daughter of Bishop Miles) and her stillborn infant, erected in the early 17th century on the north side of the Lady Chapel at Gloucester Cathedral.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
My visit coincided with the major 'Crucible' exhibition of contemporary sculpture (September-October 2010), examples of which I will upload in due course.
Arriving at Little Stretton and seeing the yellow Ride & Stride arrow signs pointing out where to find its elusive church it felt like my luck might finally change, and sure enough it did as upon arriving I could clearly espy my first open door of the day! :-D
St John the Baptist's church is a somewhat small building, but one of great rustic charm nonetheless, an extremely picturesque 14th century building in richly hued ironstone. The small west tower is followed by an aisleless nave and chancel in one, a long rectangular vessel pierced by an assortment of pointed and straight-headed windows. The north wall by contrast is totally windowless and leans quite noticeably, being propped up by later brick buttresses. Entry is via a delightfully humble Norman doorway in the south porch.
The interior is bright and monochrome after the golden-brown of the exterior, all whitewashed walls, dark wooden furnishings and plain-glazed windows, a place of pre-Victorian Protestant worship that seems untouched by the 19th century's usual interventions. It is a bright space, if a slightly chilly one, and attractively simple. The main furnishing of note is the 13th century font at the west end.
I believe that pre-Covid this church was normally kept open and welcoming for visitors, but I am unsure to what extent that happpens currently.
A section of the city walls of Trogir, Croatia.
Trogir, is a small town of about 10,000 located twenty miles from the larger city of Split. Situated on a small island in the Adriatic sea just off the Croatian coast, the town's history dates back to the Greeks in the 3rd century B.C. Over the centuries the island has been ruled by The Romans, Hungarians and Croats the Venetian Empire, the Austrian Empire, and the French. After World War I, Trogir was part of Kingdom of Serbs, Croats and Slovenes (which became Yugoslavia), although was occupied by Italy during World War II. In 1991, the town was part of Croatia when it declared its independence.
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 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...
Near the city of Pilsen, it seems like an ancient ship is floating on a green ocean. This royal castle was built around 1360, formerly named Karlskrone, but name did not catch with the people and it was named after the hill it stands on. It was a important strongpoint in Western Bohemia, burned down in 16th Century, and is known as abandoned in 1558. The main tower was repaired to livable space in 19th Century, a major repair work was done in the 1920ies. Today the square tower holds a exposition about the castle and bears a TV relay station, the main palace is open to public.
Italy. Tuscany.
Pisa.
Walking back from Piazza dei Miracoli to the Railway Station.
San Frediano is a church in Pisa, Tuscany, Italy.
Its existence is mentioned as early as 1061. Founded by the family Buzzaccherini-Sismondi and originally dedicated to Saint Martin, it had once an hospital annexed to it.
The Romanesque façade shows typical features of the Pisane medieval architecture, such as the blind arcades, the lozenges and the use of bichrome stones (present also in the city's cathedral). In the upper part is a large mullioned window.
The interior, despite a fire in 1675, has maintained the original basilica plan with a nave and two aisles. The marble columns have capitals decorated with Romanesque-style sculpted figures. It houses a rare cross painted on a gilded panel with the Crucifix and Histories of the Passion (12th century), several Baroque altars and 17th-century paintings by Ventura Salimbeni (Annunciation and Nativity), Aurelio Lomi (Adoration of the Magi), as well as frescoes by Domenico Passignano. The dome frescoes are by Rutilio Manetti.
The sturdy bell tower is in brickwork.
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 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:-
Stoneleigh church is one of the most ancient and interesting in the county, St Mary’s is still largely a 12th century Norman building with later additions, most apparent on the north side of the nave where a blocked Norman doorway with a worn tympanum carved with beasts can be found between windows enlarged in the 14th century. The sturdy tower too is Norman in its lower stages, with an oddly narrow top-storey added in the 15th century. The nave has a single side-aisle on the south side added in the 14th century, with a chapel to its east (now the vestry) built in 1665 with a bizarrely raised roof. Finally a much larger chapel was added to the north side in 1823 to serve as a mausoleum for the Leigh family.
The interior still feels much as it did in the 1800s thanks to the box-pews in the nave and gallery at the west end. The focal point is the richly decorated Norman chancel arch with chevron moldings (surprisingly re-cut in places with small griffin and serpent motifs). The chancel beyond is dark and mysterious with pilasters either side suggesting a vault was originally intended. Here are gathered the best monuments in the church, although the Dudley monument to the left of the altar is rather overpowering. The single most important furnishing is the fine Norman font in the south aisle, said to have come from Maxstoke Priory and carved with the figures of apostles in niches.
Of the aforementioned monuments that to Alice Duchess of Dudley (d.1688) and her daughter is the most notable although it is a rather inelegant thing, a huge box-like mass of black and white marble dominating the sanctuary. The marble effigies of the mother and daughter lying separately in their shrouds are however beautifully carved. The 1850 Chandos Leigh memorial opposite takes the form of an alabaster tomb-chest within a vaulted recess. Of the two medieval effigies the 14th century priest lying in the chancel is the far better preserved, the 14th century lady lying in the porch beneath the tower is so badly worn as to have lost all its detail.
Stoneleigh church is happily generally open to visitors during the day (though I have found it locked on two previous occasions over the years). As one of Warwickshire's oldest and most rewarding churches it is well worth a visit.
www.greatenglishchurches.co.uk/html/stoneleigh-in-arden.html
The first church of the day with a non-Marian dedication, St Peter's stands a short distance out of the village of Elmsett itself and thus shares the tranquil setting of so many village churches in this area. It appears to be mostly of 13th/14th century date and follows the familiar pattern of west tower, nave without aisles and chancel along with an ancient timber-framed south porch.
The interior is calm and bright, clear glazing in all windows adds to the brightness, though the greenish tone of the glass used in the chancel warms the light with a touch of colour at the east end, drawing the eye. There is a simplicity to this space that is more charming than austere. There are several post-Reformation furnishings and fittings of note including an especially handsome Jacobean pulpit (brought here more recently).
This attractive space is happily normally kept open and welcoming to strangers who may wish to enjoy it or seek a place of solace.
St Andrew's church at Westhall wasn't one I was familiar with on my previous visit to the area, if I had realised what I was missing on that occasion I may have changed my itinerary to include it. Subsequently learning of it along with the recommendations of those who know it convinced me that my next trip to Suffolk had to somehow include it, thus my plans for this excursion were largely built around making sure I didn't miss it again.
One can see why this church isn't as well known as it should be, it isn't the easiest one to find and stands some distance from the small village of Westhall itself, hidden away down a leafy lane. It is still somewhat elusive once one has even entered the churchyard, being beset by so much foliate cover that I could only get a full view of the building from the north side. It already promises good things, a fairly large 14th century building of chancel, nave and south aisle with the tower at the west end of this beside a fine Norman doorway. The tower was actually built in front of the original Norman facade and its main doorway which is still preserved within, thus one shouldn't neglect the small room at the west end of the south aisle when exploring inside.
One enters however via the north porch and finds within a spacious interior with that delightful sense of antiquity that churches spared by over-zealous Victorians posses. Above is a fine old roof which springs from carved angels, still with their original colour though alas iconoclasts have sadly deprived us of their wings and heads (why is it iconoclastic zealots so embrace beheading?!). Ahead the east window retains some non-figurative 14th century glass in its reticulated traceries, while on both sides of the church significant sections of medieval wall-painting survive.
The best features here however are the medieval fittings that remain, most notably the Seven Sacrament font, one of the very best survivors; sadly it too has suffered from a frenzy of iconoclasm, though it may be the case here that the projecting details of the figures were hacked away to allow them to be more easily plastered over, which might also account for how well preserved the original colouring is (extremely rare on any font) and the remarkable small figure reliefs applied in gesso inbetween each panel (possibly a unique survival). The base of the rood screen also survives with its painted iconography, which includes yet another rarity in the depiction of Christ's transfiguration amongst the figures of saints.
Westhall church is a real treat and certainly deserves to be better known, a place of much charm and great interest that was happily normally open and welcoming to visitors in pre-Covid days. For more on the church see Simon's entry on his Suffolk Churches site below (it is mainly thanks to his recommendation that I came here, and much appreciated it was too).
So many of our great monastic churches have faded into oblivion as a result of their suppression and plunder for the greed of Henry VIII and his henchmen, perhaps the biggest single blow to our heritage of all time. How fortunate then that a few slipped through the net and remain with us in some form today, incomplete but still glorious fragments.
Wymondham Abbey is just such a place, one of those cathedral-sized churches that survived because it was partially in parochial use, and thus withstood the dismantling of the monastic complex after it was dissolved. Here the great church was more physically divided than most, the nave being under the control of the townsfolk, the eastern parts for the exclusive use of the monks. The nave with its enormous west tower thus remains as Wymondham's parish church, one of the grandest in the country, whilst the monks choir of course fell victim to to the Dissolution and was quarried away soon afterwards leaving only the soaring octagonal central tower, a hollow shell with a great arch open on its eastern side (where formerly it connected to the choir). The church thus has a unique profile, the great main vessel with a mighty tower at either end, a sight that had tantalised me from a distance on several journeys in the area over the years, but never got to experience from close quarters until now.
The sight of the two great late medieval towers dominating their surroundings is an unforgettable sight, and is all the more dramatic when approaching from the east as the ruined central tower appears to be of almost equal size from this direction, but in reality is significantly smaller than the great bulk that literally towers over the west end. The ruinous sections adjoining the east end of the nave have recently been imaginatively incorporated into modern extensions that increase the church's working space quite effectively. Entry to the great nave that links the towers is by a handsome vaulted porch on the north side.
Externally most of the building implies a 15th century or later date, but within the impression is quite different, as most of what we see is still the original 12th century Norman structure with its solid piers and round arches. The clerestorey above and the aisle walls were clearly rebuilt and enlarged in the 15th century (hence the Norman work fails to register from outside), at which stage the astonishing angel roof was added (retaining its carved enrichments in the form of stellar bosses and large wooden angel carvings, happily far out of the reach of iconoclasts). The north aisle is also adorned with a fine richly carved late medieval roof and is substantially wider than its counterpart to the south.
The most notable furnishings are of rather more recent date, the great 1920s reredos and tester by Sir Ninian Comper that adorns the east wall (which was blocked before the Dissolution to divide the people's church from that of the monks). It is a glorious splash of gilding and coloured sculpture and forms a fitting climax and focal point to the interior in place of what would otherwise have been a featureless wall.
There is much to enjoy here but above all it is the architecture and its embellishments that make a visit here so memorable. I had waited many years to finally experience this building for myself and it did not disappoint! The church is normally open to visitors most days and I was made very welcome here. I loved it and urge others to come and see this remarkable place for themselves!
For more history and detail of the Wymondham Abbey see its entry on the Norfolk Churches site 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 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...
Where does one start with Stowlangtoft? It was another name I'd seen for years on road-signs while visiting relatives in the area, a name that always stood out and yet we never came here. I had for some time known there were good things in the church here, but the opportunity to explore them failed to materialise, until now.
St George's church sits on high ground overlooking the main road through the village, a commanding presence rising from the surrounding trees, the tower with its squared off parapet looking a little dour compared to some of the more delicately designed Suffolk towers, but this is a handsome edifice nonetheless, built on a grand scale and all of a piece 15th century Perpendicular, though the windows are strangely narrow for the period, more concerned with height than width, much like the building itself which lacks side aisles, (which never seem to have been intended, this impressive mass was considered complete as it is).
As the church is little used now and generally kept locked it is necessary to seek out the key nearby and then enter by the priest's door on the south side of the chancel. This reveals the tall and narrow space within from the altar end, and transports one immediately into the midst of the finest carved woodwork in the church. The glass in the windows gives the interior a rather Victorian atmosphere, but this is soon forgotten when one focuses on the extensive late medieval furnishings which are the glory of this church; the nave pews are richly carved with all sorts of fantastical creatures on the bench ends, whilst in the chancel are the stalls with their reading desks and a set of six of the finest quality misericords to be seen anywhere in the country. Most of this appears to date from the last decades of the 15th century but some of the carvings seem to betray an origin in the early decades of the following century. This is a fascinating collection of carvings which kept me occupied for some time.
In the chancel is another late medieval treasure but not an indigenous one, a set of exquisite Flemish carvings depicting scenes from Christ's Passion that were given to the church in more recent years and incorporated into the paneling around the high altar (flanking the rather stodgy Victorian reredos). At the west end of the nave is the churches oldest feature, the 14th century font, the last relic of the previous church here.
Stowlangtoft church is usually kept locked so keyholder details are given, but fear not for they are friendly and live just over the road. Anyone planning to visit here should allow plenty of time (especially if like me they enjoy the carved wooden beasties of East Anglian bench ends as this church is full of them!). I had a more ambitious itinerary planned for this day, but having spent so long here I didn't get around to seeing some of my later targets (or they too were locked by the time I did). It was time well spent though, as this was easily the biggest highlight of the day.
St Peter's is crowned by the second steeple on Hereford's skyline and the only other medieval parish church to survive the Civil War (the rest were either demolished or replaced by newer buildings).
The building is mostly of late 13th/early 14th century date with a thorough restoration in the 1880s. It consists of a fairly spacious nave and aisles leading to a much narrower chancel and small south chapel (whose dimensions accommodate the tower and spire situated on the south side).
The most important furnishings are the complete 15th century choir stalls (with panelling and coving rather than canopies with mostly plain misericords). These were originally made for the now vanished priory of St Guthlac. The other historic item of interest is the fine carved Royal Arms of William III in the north aisle. The stained glass in chancel and south aisle is of late 19th century date.
I'd found this church kept locked on all my previous visits to Hereford but it seems this situation is now changing following a recent restoration and reordering of the interior, and visitors were being made welcome when last I called.
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...
Withcote Chapel is a place I'd wanted to visit for many years and finally getting to see it for myself was no disappointment!
This small Tudor building was originally built in the 1530s as the private chapel of the adjoining manor, but later served as the parish church of Withcote, though with so few living in the parish it has long ceased in this role and is now cared for by the Churches Conservation Trust.
It is a simple late medieval single-chambered structure, battlemented and pinnacled ironstone without, light and plastered within, in fact the interior feels as though it belongs to an entirely different era altogether, having been remodelled in 1744 in Georgian fashion, whitewashed under a flat plaster ceiling with wooden panelling and reredos.
However, it is the glass for which Withcote is justly famed, of the four windows on each side three retain the bulk of their original Renaissance stained glass, six windows in all making this one of the last and most complete surviving schemes of 16th century church glass in the country (so late in fact its manufacture and execution probably coincided with the Reformation rather than predated it).
The glass is believed to have been made in 1536-7 under the direction of king's glazier Galyon Hone, one of a group of artists of Flemish origin whose advanced Renaissance style brought them royal patronage and were based in Southwark (to avoid conflict with indigenous glaziers in the City). Hone is better known for his work on the great windows of King's College Chapel, Cambridge.
Originally the scheme depicted twelve prophets on the south side balanced by the twelve Apostles to the north; eighteen of the original twenty-four figures remain in varying degrees of preservation but many are more or less complete (only the two westernmost windows are devoid of figurative glass). At the top of each light is a display of Tudor heraldry surrounded by rich Renaissance ornament.
Withcote Chapel is a delight, a little gem of a building hidden away in the Leicestershire countryside filled with splendid 16th century glass. It isn't an easy place to find but will greatly reward the effort to do so and is normally open to visitors daily.
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.
Family tragedy
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.
Cotton Probert