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Stockerston church lies some distance to the west of the village, approached by a long lane and situated on high ground next to the privately owned Hall. It is a handsome late medieval building, having reached its present form in the 15th and early 16th centuries.The church consists of chancel and nave flanked by aisles (both being a bay shorter than the nave itself) and a west tower with generously sized belfry windows, all finished in local ironstone that has grown attractively silvery with lichen.
The light interior has much of interest, it has not been too heavily restored and retains many antique features with various monuments and memorials (including a pair of fine brasses now displayed at the west end) and remains of ancient woodwork (though the original screen has gone, however there is an unusual stair-turret that once led to its loft in the south aisle). The outstanding survivals here however are in glass, with isolated panels of 15th century stained glass surviving in several windows, the most complete being the St Christopher at the west end, and a sainted bishop and scene from Christ's passion in the north aisle. Usually one is lucky to find mere fragments of the lost medieval glazing, but here at least those fragments are substantial with several complete panels and images.
Stockerston church was easily my favourite of our day exploring Leicestershire (18 churches visited of which we found 11 open) and is one I thoroughly recommend. Sadly visiting isn't normally so easy as it is generally kept locked outside of service times and I'm not sure if there is a keyholder so it may be necessary to make prior arrangements to visit the interior.
For more on this gem of a church see its entry on the Leicestershire Churches site below:-
www.leicestershirechurches.co.uk/stockerston-church-st-pe...
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 Erpingham Gate is a splendid piece of medieval architecture, still adorned with it's original sculptures, that forms one of the two main entrances to the Cathedral Close in Norwich (an earlier and equally fine gateway, the St Ethelbert gate, is further to the south forms the other). Within the mouldings of the archway are two columns of figures of various saints which have survived almost intact.
It was built in 1420 by Sir Thomas Erpingham who lead the English Archers at Agincourt, and whose kneeling donor figure can be seen in the niche immediately above the arch.
Newly carved gargoyle recently installed on the south aisle of the nave, one of a sequence of imaginative replacements for long lost originals sculpted by the cathedral's masons.
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:-
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.
Window by Hardman's in the cloister lavatorium.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a separate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
St 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...
All Saints church at Braybrooke is a handsome sight, standing on high ground surrounded by trees with conceal most apart from the fine steeple until one draws closer. The earliest parts are 13th century but with later features such as the 14th century tower and spire and the ample Perpendicular south chapel from the Tudor period with its large four-light windows, quite grand for a village church.
There is much of interest within, though initially the view down the nave disappoints as the church has been subdivided internally for several decades with a blank partition wall inserted to block the chancel with the altar placed here instead (I do hope this can be reversed some day). The chancel itself is accessible through the screen in the south aisle but the entire east end seems to be decommissioned and used only for storage nowadays. The south chapel (a much more impressive space than the chancel) also looks rather unloved but holds the most interesting features, with a grand Elizabethan Renaissance monument to the Griffin family and an oak effigy of a 14th century knight. On the wall here also a large Renaissance relief medallion of a moustached man, presumed to be a relic of Braybrooke Castle which once stood opposite the churchyard.
Back in the nave there are other features of note, the wooden aisle screen having some quirky carvings worth noticing, while at the west end of the aisle is a very fine square Norman font, richly carved with foliate patterns, interlacing scrollwork and a peculiar image of a mermaid next to a cross. While the font is the oldest relic here, the church's newest artwork is also rewarding, a very fine window in the north aisle depicting the Virgin & Child surrounded by the Evangelist emblems installed in 1967.
Braybrooke church is well worth a visit but alas normally kept locked. There is a keyholder but it may be easier to pre-arrange a visit with them to guarantee seeing inside the church.
Situated on the northern edge of Northamptonshire very close to the Leicestershire border, Marston Trussell is most noticeable to the traveler for the handsome tower of its medieval church, a building of mainly 13th - 14th century date. This tower seems to have a greater height than the nave has length, and the chancel being only fractionally shorter than the nave makes the building appear slightly oddly proportioned. The north porch is notable for its timber-framed outer structure, including a strangely-shaped arch partially cut through the wooden lintel.
The neat interior is bright and cheerful with its walls mostly white rendered aside from the south aisle (stripped to bare stonework). The proportions give it a more intimate feel, given the relative shortness of the nave. There is a mixture of Victorian glass in many of the windows, though a few genuine medieval fragments survive patched into the easternmost window of the south nave clerestory. The most notable feature otherwise is a fine Jacobean wall-mounted monument in the south aisle depicting the deceased gentleman kneeling at prayer.
This church is normally kept locked outside of service times and thus may require advance arrangements to see inside.
britishlistedbuildings.co.uk/101216629-church-of-st-nicho...
Originally founded as an Augustinian abbey in 1140, Bristol Cathedral has had a more chequered history than most, having only been elevated to a diocesan church in 1542 following the dissolution of the monastery. At the time it was granted cathedral status the church was also incomplete, a major rebuilding of the nave was underway but the Dissolution brought work to a halt and the unfinished parts were demolished. The new cathedral was a truncated church consisting of choir, transepts and central tower, (already on a smaller scale than many) and so it remained until the Victorian period when renewed interest in the Middle Ages reignited the desire to rebuild the nave. The work was done between 1868-77 to the designs of architect George Edmund Street (largely imitating the genuine medieval architecture of the choir) whilst the west front with its twin towers wasn't finished until 1888 (to the design of J.L.Pearson). Only then was Bristol cathedral a complete church again, after a gap of more than three centuries.
Architecturally this is also a rather unique building in England, since it follows the German pattern of a 'hall-church' where the main vessel (nave & choir) and the side aisles are all of the same height, thus there is no clerestorey and the aisle windows rise to the full height of the building. Externally this gives the building a rather more solid, muscular look, whilst within there is a greater sense of enclosed space, with the columns merging into the vaulted ceilings like trees sprouting branches. There are many striking architectural innovations here that don't seem to have been repeated elsewhere in 14th/15th century England, such as the distinctive designs of the choir aisle vaults which appear to rest on pierced bracings and the 'stellate' tomb-recesses punctuating the walls below. Further eccentric touches can be found in some of the side chapels of the eastern arm. Another unique feature is the fact the cathedral has two Lady Chapels, the major one being below the east window behind the high altar, whilst a further chapel (one of the earliest parts of the church) is attached to the north transept.
Beyond its impressive architectural features the cathedral contains much of interest, with its late medieval choir stalls surviving along with a few much restored elements of its 14th century glass (along with an interesting mixture of windows from later centuries) and several monumental tombs of note. Parts of the monastic complex remain too, with two sides of the cloister remaining and the superb Norman chapter house (one of the finest examples of Romanesque architecture and carving in the country with some wonderfully rich-non-figurative decoration).
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.
The Avison Ensemble has performed many times at Nicholas Parish Church, Guisborough where we've enjoyed the beautiful medieval architecture and the wonderful acoustic.
We're celebrating our first anniversary of joining Flickr and want to show you the amazing venues we've played and recorded in during the year, most of them in the North East region and some in London. Thanks to all of you who've joined us for concerts in these beautiful venues and for looking at our photos. Here's to another great year coming up of concerts, images and films. Hope to see you soon and look forward to sharing more inspiring images with you ... Our next concert is in Bamburgh Castle and we've included some images of this stunning castle too!
The Avison Ensemble is the outstanding period instrument orchestra based in Newcastle upon Tyne, which plays and popularises the music of Charles Avison (1709-1770) and other English classical composers of the Baroque period, such as Garth, Arne and Herschel. The Ensemble also performs Purcell, Handel, Vivaldi, Corelli, Geminiani, Pergolesi, Teleman, Rameau, Bach, Mozart, Haydn and Beethoven.
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
My visit coincided with the major 'Crucible' exhibition of contemporary sculpture (September-October 2010), examples of which I will upload in due course.
The church of St Mary at Ripple is justly renowned as one of the best historic churches in Worcestershire. It is an unusually large cruciform building mostly dating back to the early 13th century, the only significant later alterations being the enlarged east and west windows and the 18th century rebuillding of the top section of the central tower.
The spacious interior reveals how much parts of the building settled over the centuries with some walls and columns exhibiting an alarming lean. This necessitated major structural work to stabilise the west end at the turn of this century with large new buttresses added to prevent further movement. It was during this work that I first visited Ripple as part of the team who releaded the Kempe glass in the west window at this time, the whole church being a building site back then with many of its finest features covered for protection. This time I could see it in all its glory.
The outstanding features of interest here are in the chancel, the superb set of choir stalls with some of the best 15th century misericords to have come down to us. Most of the carvings have the medieval labours of the months as their theme, a rare complete sequence, along with some especially memorable depictions of the sun and moon.
Ripple church is well worth a visit for its handsome structure and outstanding woodwork. I found it open, and hope that this is the normal arrangement.
www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...
Eltham Palace in south east London is the place where high medieval architecture and the art deco styling of the 1930s collide.
www.flickr.com/photos/barryslemmings/sets/72157594230012929/ for the full set.
The site had belonged to Bishop Odo, half brother of William the Conqueror in 1086. Anthony Bek, Bishop of Durham, certainly built a defensive wall around the site in the 1290s. Edward I, Edward II and Edward III all visited or lived here, Bek having given the site to young Edward II. Edward III spent most of his youth here.
The Order of the Garter, Europe's oldest surviving order of chivalry may have been founded here by Edward III in 1348. Later kings added to the site but it was Edward IV who built the magnificent Great Hall in 1470s which can still be seen. It has the third largest hammer beam ceiling in England.
Tudor kings Henry VII and Henry VIII favoured the site for many years as it was one of only six palaces which could house the entire royal court of 800 people. However Eltham was largely replaced by the now lost Greenwich Palace which was nearer the river but still had access to the good hunting around Eltham.
It later became a farm and the Great Hall narrowly avoided demolition in the 19th century.
In the 1930s the lease was acquired by the wealthy Courtauld family who proposed a radical rebuild of the site, which was still owned by the Crown. After some controversy architects John Seely and Paul Paget go the go-ahead in 1933 and work started.
The interior is furnished in the art-deco style and modern features of the new house included a centralised vacuum cleaner system in the basement with outlets in every room, heated towel rails and radios in the staff bedrooms.
The Courtaulds lived in the house from 1936 until 1944. Conservative minister Rab Butler lived at Eltham with the Courtaulds and much of the 1944 Education Act is thought to have been written here.
Although the family still had 88 years left on the lease the Second World War prompted the Courtaulds to leave and the building became the headquarters for the Army Educational Corps from 1945 until 1992. English Heritage had already cared for the Great Hall but took over the whole site in 1995 and began a restoration of the main house which, fortunately, had retained many of its art deco features and interiors.
More fittings and furniture have since been returned to the house - including a table and chairs which were found in the board room and the props department of Pinewood film studios. Stephen Courtauld had been on the board of Ealing Film Studios for 20 years.
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...
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.
St Mary's at Somersham sits in a green area on the eastern edge of the village (not large but a bigger settlement than many in this area). It is an attractive building of mainly 14th century date following the form of many of the area's smaller churches with west tower followed by an aisleless nave and chancel, a continuous vessel with little structural break. Much of the exterior is rendered and limewashed, which lightens the tones and cheers it up somewhat.
Within it is one long integrated space but contains much of interest in its furnishings, with two royal arms and 18th century paintings of Aaron & Moses flanking the altar. The easternmost of the wooden tie-beams of the ceiling even retains fixings that likely once supported the sanctus bell used for mass, a rare vestige of pre-Reformation worship. A more recent addition is the bold display of modern stained glass in the lunette formed at the head of the otherwise blocked north doorway, a splash of colour designed by Suffolk-based glass artist Surinder Warboys.
Somersham church is a place of great charm, and whilst it is normally kept locked outside of services a keyholder may be sought nearby (thankfully Simon already knew where to find them and was on the case the moment we arrived).
The mostly 14th century St Andrew's church at Kegworth. Sadly it is generally kept locked without keyholder information (as are the majority in Leicestershire) so I reluctantly gave up and moved on (after a short refreshment break in the churchyard).
The Cathedral of St Andrew is a ruined Roman Catholic cathedral in St Andrews, Fife, Scotland. It was built in 1158 and became the center of the Medieval Catholic Church in Scotland. It fell into disuse and ruin after Catholic mass was outlawed during the 16th-century Scottish Reformation. It is currently a monument in the custody of Historic Environment Scotland. The ruins indicate that the building was approximately 390 ft long, and is the largest church to have been built in Scotland.
Throughout all my years of visiting relatives in neighbouring Woolpit the handsome tower of St John's at Elmswell has been a distant landmark, staring across at us invitingly and making me all the more curious about it. We dropped by to have a closer look at it on one occasion in my youth but alas had no luck getting inside, finding the church firmly locked. Elmswell church thus remained a bit of a mystery to me (despite its familiar face) for so long, only knowing what I missed inside from photos posted on the internet in more recent years (in fact this curiosity is how I initially stumbled upon Simon's excellent Suffolk Churches site linked below) but as luck would have it the timing of my most recent visit to the area changed all that at last.
The church sits by the road leading out of the sprawling modern village of Elmswell, but is easily missed,being set back behind a screen of foliage with a sharply angled drive leading up to it. I approached knowing that my chances of finding it open were slim as I glanced up at the eccentric flushwork patterning on the end wall of the aisle that I recalled from my childhood visit, and couldn't help feeling history was about to repeat. In the south porch however I glimpsed movement, and arrived just in time to find a gentleman emerging from inside and locking the door behind him, so I introduced myself and asked if it would be possible without delaying him too much further to have a quick look inside. He kindly agreed and showed me around, which I appreciated immensely, grateful both to him and that fate had smiled on me for once as had I turned up a minute later I would have missed out.
Inside the church is light and airy, the nave being fairly lofty for its length, but overall this interior feels very much Victorian, having been heavily restored and extended in at least three phases during the mid 19th century, the south aisle having been rebuilt and the northern one added at this time. The chancel too is largely of this date as are the most prominent furnishings, in fact it all comes as a bit of a surprise for Suffolk, given how many ancient churches in these parts remain little altered structurally at least. There are earlier features that stand out however, some fine late medieval benches remain in the aisles (though sadly shorn of their figurative arm-rest carvings by iconoclasts) and an astonishing early 17th century monument to Sir Robert Gardiner (Lord Chief Justice of Ireland under Elizabeth & James I) that dominates the east end of the south aisle (blocking the space formerly occupied by the east window which was thus replaced by the quirky patterned flushwork I admired outside).
Elmswell church isn't normally open outside of services and doesn't have a keyholder listed so getting inside requires either prior arrangement or some luck with one's timing! The locals however are friendly and accommodating regardless and the church is clearly well loved.
Much of the city's medieval architecture remains intact and is remarkably well preserved and restored. Its centre is the largest carfree area in Belgium. Interesting highlights are the Saint Bavo Cathedral with the Ghent Altarpiece, the belfry, the Gravensteen castle, and the splendid architecture along the old Graslei harbour. Ghent established a nice blend between comfort of living and history – it is not a city-museum. The city of Ghent houses also three béguinages and numerous churches, among which the Saint-James' church, the Saint-Nicolas' church and the Saint Michael's church are the most beautiful examples.
In the nineteenth century Ghent's most famous architect, Louis Roelandt, built the university hall Aula, the opera house and the main courthouse. Highlights of modern architecture are the university buildings (the Boekentoren or Book Tower) by Henry Van de Velde. There are also a few theatres from diverse periods.
The beguinages, as well as the belfry and adjacent cloth hall, were recognized by UNESCO as World Heritage Sites in 1998 and 1999
A guard castle defending a trade route, founded around 1224, known as the most spooked Czech castle, and through the highest number of walled in people. It was well fortified and important for country defense, underwent periodical reconstructions in actual architectonical styles. It was damaged in 1569 by fire, repaired and used more like a economic complex, after another fire in 1842 a empire style reconstruction was done. Modern restoration work began in the 1970´s and still continues. Many rumors speak about countless ghosts roaming the castle at night, pretty few people are told to be walled in through the castle´s history.
If you were to make a list of the top churches in Worcestershire it's a safe bet to say St Giles' at Bredon would be one of them. It is a gem of a building, much of which dates back to Norman times (and the site is older still as a Saxon minster stood here) though it has been greatly modified and added to since, mainly in the 13th and 14th centuries.
The nave is the earliest part standing today, its west end still largely in its original Norman form (aside from the Perpendicular window inserted into it) but the remainder was pierced by Gothic arcades in the 13th century when the present substantial aisles were added on either side (but curiously for only two-thirds of its length). The central tower and spire belong to the following century, as does the handsome chancel beyond. The tapering steeple makes a fine landmark and the stonework is of the pleasant golden-hued variety that predominates here so close to the Gloucestershire border.
As a result of its complex building history the interior of the church seems more a collection of different spaces, the chancel and south aisle are bright and cheerful, the nave more subdued and mysterious. The light in the chancel draws the eye eastwards towards the focal point and reflects on an attractive tiled floor (some tiles in the chancel are fine medieval heraldic pieces, and there are elements of glass here of the same date). This is a church full of interest,. well worth exploring; there are some striking monuments, canopied medieval tombs in the chancel stand alongside a fascinating carved 14th century coffin lid featuring busts of the deceased above a crucifix, a remarkably rare survival. At the west end of the south aisle stands one of the largest and most elaborate early 17th century monuments in any church, its superstructure nearly touching the ceiling.
Bredon church is well worth visiting and was normally kept open and welcoming for that purpose in pre-Covid days. Hopefully it will be again once we get beyond this painful chapter.
www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a 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.
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.
Bruges (Dutch: Brugge, stemming from Bryggja, which assumedly used to signify 'landing stage' or 'port') is the capital and largest city of the province of West Flanders in the Flemish Region of Belgium. It is located in the northwest of the country.
The historic city centre is a prominent World Heritage Site of UNESCO. It's egg-shaped and about 430 ha in size. The surface of the complete city amounts to more than 13,840 ha, including 193.7 ha off the coast, at Zeebrugge ("sea-Bruges" in literal translation). The city's total population is more than 117,000, of which around 20,000 live in the historic centre.
Bruges has a significant economic importance, thanks to its port, and is also home to the College of Europe.
Only the tower remains of All Hallows church, but it remains a relatively rare reminder of the many medieval churches that formerly existed in the City of London before the Great Fire of 1666.
The church survived the Fire but much of it collapsed in the following years and was rebuilt aside from the tower. The whole church was earmarked for demolition in the 1870s but thankfully the medieval tower was saved.
Currently the tower is surrounded by a vast demolition / building site as a major redevelopment gets underway from which will rise another towering office block (see link below).
en.wikipedia.org/wiki/All_Hallows_Staining
Future plans of the regeneration around the church tower :-
One of a pair of decapitated figures flanking the doorway in the south wall of the transept.
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.
South aisle window by C.E.Kempe, 1895, depicting the preaching of St John the Baptist, heralding Christ.
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 Peter's is one of the most prominent of Ipswich's churches, its tower is a landmark at the hub of the busy road network on the southern edge of town near the waterfront. The area was once heavily industrial but is now more full of apartment blocks; regardless it does still feel a bit out of place in this rather unforgiving location (as does its near neighbour, St Mary at Quay which stands a short distance to the east).
St Peter's is one of Ipswich's many surplus churches having been made redundant in the 1970s. The following decades saw the building abused and neglected and its future in serious doubt until its more recent conversion into a concert venue for local musicians, which has seen the building restored and a stage set up in the former chancel. This use happily not only gives the church a sustainable future but respects the spatial integrity of the building with the interior otherwise retained in its original form.
The church was very heavily restored in the Victorian period when large parts of it were rebuilt and the interior we see today does appear to mostly belong to the 19th century makeover. There is however an important exception that reminds us of the church's ancient past, a superb Norman font situated at the west end (and happily the first thing one sees on entering the church via the main door under the tower). This is one of only a handful of surviving Romanesque fonts in the country carved from black Tournai marble, and the carving (depicting three feline beasts in a row on each side) has come down to us in good condition. An important survival that deserves to be better known.
After a long period of closure St Peter's is happily now open to visitors on most days of the week and is well worth visiting for its ancient font above all else.
St Margaret's church at Whatfield stands hidden away down a cul-de-sac off the main street of the village and is unable to assert its presence the way so many churches do since it now lacks the upper stages of its tower, the stump having been crowned with a simple pyramid-capped roof for the last few centuries (as at nearby Flowton presumably it became unsafe and was dismantled as funds to rebuild weren't forthcoming, thus has remained this way ever since).
The exterior is rather unassuming (and sadly in my haste to see inside I seem to have only taken one shot of it, though a few spots of rain may also have played their part!) and nestles quietly into the greenery of the churchyard. There are no aisles, just a simple chancel, nave and the lower part of the tower, all given a rendered finish. The interior is light and mainly clear-glazed like nearby Elmsett, though the abundance of dark woodwork here subdues the brightness of the walls and windows. There is little structural division between nave and chancel aside from the latter being slightly narrower and the roof truss above being filled in to create a kind of tympanum: behind this, as one moves further down the nave, is revealed the church's best feature, a delightful late 14th century panelled roof with carved bosses depicting faces and foliage.
Judging by Simon's entry below this church used to be kept locked with a keyholder, but there may have been a change of heart since as we found the church open, so assume it is normally kept more welcoming these days.
Early 16th century carving in the one of the upper chantries of the Lady chapel in 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.
View from the tower roof at GloucesterCathedral.
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.