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The ruins of Kirkham Priory are situated on the banks of the River Derwent, at Kirkham, North Yorkshire, England. The Augustinian priory was founded in the 1120s by Walter l'Espec, lord of nearby Helmsley, who also built Rievaulx Abbey. The priory was surrendered in 8 December 1539 during the Dissolution of the Monasteries. Legend has it that Kirkham was founded in remembrance of l'Espec's only son who had died nearby as a consequence of his horse being startled by a boar. The area was later used to test the D-Day landing vehicles, and was visited by Winston Churchill. The ruins are now Grade I listed and in the care of English Heritage.
Gatehouse ruins
Kirkham Priory gatehouse ruins. The armorials of various benefactors are visible sculpted on stone escutcheons
The Gatehouse of Kirkham Priory, built c.?1290–95, is a specimen of English Gothic medieval architecture. It is a rare survival of such a gatehouse, comparable to that of Butley Priory in Suffolk. It has a wide arch of continuous mouldings with a crocketed gable running up to the windows, with sculptures of S.George and the Dragon on the left, and David and Goliath to the right. Above the arch is Christ in a pointed oval recess, plus two figures below of St. Bartholomew and St. Philip, in niches. There are also many escutcheons with the armorials of the various benefactors of the Priory, including the arms of de Ros, Scrope, de Forz, Vaux, FitzRalph & Espec (3 cart-wheels, each with 6 spokes).
One the absolute highlights of my visit, St Edmund's church in Southwold is one of -the most impressive parish churches in the country. Arriving late in the afternoon I was delighted to find the church still open and lose myself in its beautiful interior.
The building dates from the latter half of the 15th century and makes an assertive statement, all grandeur and civic pride on a grand scale. Great Perpendicular traceried windows punctuate the walls of the entire edifice and make it gloriously light inside (mostly plain glazed as no original glass survives and wartime bombing removed what the Victorians put in).
Within the eye is drawn to the hammerbeam roof, adorned with angels (though all are partially or wholly Victorian replacements for the originals that were mutilated by iconoclasts). The chancel beyond (structurally continuous) adds to the effect further with its ceiling painted in a heavenly shade of blue. A canopy of honour is created between the two halves with painted figures of angels, overpainted by restorers but stylistically clearly close to the original work underneath.
This ceilure of course added emphasis to the rood, long since vanished alas but the screen that supported it remains and is the most remarkable feature of the church, extending its entire width (though the screens in the aisles could be identified as separate additions). All the lower panels retain their sequence of late medieval painted figures including an unusual sequence of angels, but sadly all have been defaced by iconoclasts, most likely during the reign of Edward VI when the biggest militant purge of church artwork occurred. The quality and richness of detail however is still apparent.
The choir retains some fine medieval carved woodwork including choir stalls (the misericords are disappointingly plain designs, but the armrests feature more lively details). Ornate screens enclose this space on either side.
This vast church requires time to soak up its atmosphere and bask in its beauties, it is one of the loveliest buildings one could hope to visit and will reward any visitor to this pictureque seaside town, being generally kept open and welcoming within reasonable hours.
An interesting looking church, but all alas locked up when I arrived with no prospect of getting inside so reluctantly I had to limit myself to a few external shots and move on. A pity as it looked promising, but at least it was the last locked church I encountered until the end of the day.
Brailes is one of the more picturesque villages of south Warwickshire, and its church of St George is justly renowned as one of the county's grandest parish churches. It is an impressively large building in a delightfully coloured golden-brown ironstone, dating mainly from the 14th century and terminated by a lofty west tower (finished in the following century), a handsome edifice that announces the building's presence from afar.
The main body of the church impresses more with its substantial length and width than height, and once inside the sense of space punctuated by arches and columns is impossible to ignore. The wooden roof above seems to stretch forever onwards and is supported by some amusingly carved head-corbels. A fine 14th century font stands at the west end adorned with geometric designs like traceried windows, as if each side was based on a page from some medieval mason's pattern-book. In the south aisle is a very heavily eroded medieval priest's effigy on a tomb chest, its condition explained by the fact it originally stood in the churchyard until being brought inside to protect it from further weathering only in 1933. There is an interesting mixture of glass in the windows, all Victorian or more recent but with a couple of above average pieces.
This was only my second ever visit to Brailes church (first was on a family day out in my early teens long ago). It made a fitting end to a day's cycling in the area, and being late in the day I was lucky to find it still open, which I believe it normally is during the day..
www.britainexpress.com/counties/warwickshire/churches/low...
A final word of thanks here is due to my mate Tim Clevely who came to my rescue as I made my way home after leaving here only to have an inner-tube on my bike fail apparently beyond redemption a few miles on. I could have faced a very long walk home (would have missed last train too), so that lift back (and the subsequent social evening) was hugely appreciated!
Brailes is one of the more picturesque villages of south Warwickshire, and its church of St George is justly renowned as one of the county's grandest parish churches. It is an impressively large building in a delightfully coloured golden-brown ironstone, dating mainly from the 14th century and terminated by a lofty west tower (finished in the following century), a handsome edifice that announces the building's presence from afar.
The main body of the church impresses more with its substantial length and width than height, and once inside the sense of space punctuated by arches and columns is impossible to ignore. The wooden roof above seems to stretch forever onwards and is supported by some amusingly carved head-corbels. A fine 14th century font stands at the west end adorned with geometric designs like traceried windows, as if each side was based on a page from some medieval mason's pattern-book. In the south aisle is a very heavily eroded medieval priest's effigy on a tomb chest, its condition explained by the fact it originally stood in the churchyard until being brought inside to protect it from further weathering only in 1933. There is an interesting mixture of glass in the windows, all Victorian or more recent but with a couple of above average pieces.
This was only my second ever visit to Brailes church (first was on a family day out in my early teens long ago). It made a fitting end to a day's cycling in the area, and being late in the day I was lucky to find it still open, which I believe it normally is during the day..
www.britainexpress.com/counties/warwickshire/churches/low...
A final word of thanks here is due to my mate Tim Clevely who came to my rescue as I made my way home after leaving here only to have an inner-tube on my bike fail apparently beyond redemption a few miles on. I could have faced a very long walk home (would have missed last train too), so that lift back (and the subsequent social evening) was hugely appreciated!
To most the name Ratcliffe on Soar will be familiar for a landmark that can be seen for miles around, the eight enormous cooling towers of the power station that dominates the area like some great herd of monstrous concrete beasts. It is thus surprising to find a short distance away a rural village whose ancient church is so enfolded by trees that one can forget the modern behemoths glowering nearby and be transported back to earlier centuries.
Holy Trinity church appears to be a mainly 14th century building with a west tower and spire and nave flanked by aisles on both sides, all with a somewhat rustic finish despite some handsome traceried windows. Within there is a fair degree of light owing to the windows being entirely plain-glazed (tricky to photograph in certain conditions owing to the strong contrast of light and shadow). It is obviously a building of some antiquity and interest.
However the main reason for visiting this church is not the building itself but rather the contents, namely the rich collection of alabaster tombs with recumbent effigies from the late medieval and Tudor periods, most of which commemorate members of the Sacheverell family. Nottinghamshire was once also the centre of the alabaster industry, and this church's collection of funerary monuments is a fitting testament to this.
Ratcliffe on Soar church was generally kept open to visitors in pre-Covid days and is one of the most rewarding churches in the area.
southwellchurches.nottingham.ac.uk/ratcliffe-on-soar/hhis...
The ruins of Kirkham Priory are situated on the banks of the River Derwent, at Kirkham, North Yorkshire, England. The Augustinian priory was founded in the 1120s by Walter l'Espec, lord of nearby Helmsley, who also built Rievaulx Abbey. The priory was surrendered in 8 December 1539 during the Dissolution of the Monasteries. Legend has it that Kirkham was founded in remembrance of l'Espec's only son who had died nearby as a consequence of his horse being startled by a boar. The area was later used to test the D-Day landing vehicles, and was visited by Winston Churchill. The ruins are now Grade I listed and in the care of English Heritage.
Gatehouse ruins
Kirkham Priory gatehouse ruins. The armorials of various benefactors are visible sculpted on stone escutcheons
The Gatehouse of Kirkham Priory, built c.?1290–95, is a specimen of English Gothic medieval architecture. It is a rare survival of such a gatehouse, comparable to that of Butley Priory in Suffolk. It has a wide arch of continuous mouldings with a crocketed gable running up to the windows, with sculptures of S.George and the Dragon on the left, and David and Goliath to the right. Above the arch is Christ in a pointed oval recess, plus two figures below of St. Bartholomew and St. Philip, in niches. There are also many escutcheons with the armorials of the various benefactors of the Priory, including the arms of de Ros, Scrope, de Forz, Vaux, FitzRalph & Espec (3 cart-wheels, each with 6 spokes).
The ruins of Kirkham Priory are situated on the banks of the River Derwent, at Kirkham, North Yorkshire, England. The Augustinian priory was founded in the 1120s by Walter l'Espec, lord of nearby Helmsley, who also built Rievaulx Abbey. The priory was surrendered in 8 December 1539 during the Dissolution of the Monasteries. Legend has it that Kirkham was founded in remembrance of l'Espec's only son who had died nearby as a consequence of his horse being startled by a boar. The area was later used to test the D-Day landing vehicles, and was visited by Winston Churchill. The ruins are now Grade I listed and in the care of English Heritage.
Gatehouse ruins
Kirkham Priory gatehouse ruins. The armorials of various benefactors are visible sculpted on stone escutcheons
The Gatehouse of Kirkham Priory, built c.?1290–95, is a specimen of English Gothic medieval architecture. It is a rare survival of such a gatehouse, comparable to that of Butley Priory in Suffolk. It has a wide arch of continuous mouldings with a crocketed gable running up to the windows, with sculptures of S.George and the Dragon on the left, and David and Goliath to the right. Above the arch is Christ in a pointed oval recess, plus two figures below of St. Bartholomew and St. Philip, in niches. There are also many escutcheons with the armorials of the various benefactors of the Priory, including the arms of de Ros, Scrope, de Forz, Vaux, FitzRalph & Espec (3 cart-wheels, each with 6 spokes).
St Mary's church at Sileby is an impressive structure dating mostly to the 13th-15th centuries marked by a proud west tower.
The spacious interior is adorned with carved stonework and a fine old roof over the nave, complete with medieval angel figures and head bosses at intersections.
The church is normally kept locked outside of services. For more see below:-
A memorial to Henry I who founded Reading Abbey on 1121, and who is buried near here in front of the altar of the Abbey Church.
St Mary's church in Lapworth is one of the most rewarding and unusual medieval parish churches in Warwickshire. The visitor generally approaches this handsome building from the north where the sturdy tower and spire stand guard like a sentinel. It is unusual in standing apart from the main building and was originally detached but is now linked by a passageway to the north aisle, making the church almost as wide as it is long. The west end too is remarkably configured with a chantry chapel or room set above an archway (allowing passage across the churchyard below).
The church we see today dates mainly from the 13th / 14th centuries, with an impressive fifteenth century clerestorey added to the nave being a prominent feature externally, but within it is possible to discern traces of the previous Norman structure embedded below in the nave arcade. There is much of interest to enjoy in this pleasant interior from quirky carvings high in the nave to the rich stained glass in the chancel and north chapel (which has benefitted immensely from a newly inserted window where the east wall had previously been blank). The most interesting memorial is the relief tablet in the north chapel by Eric Gill.
Lapworth church has consistently welcomed visitors and remains militantly open now despite being surrounded by churches largely reluctant to re-open after Covid. Happily since Tony Naylor's fine new window was installed the previous alarm system that restricted access to the eastern half of the church (which I inadvertedly set off on my first ever visit, deafening the neighbours!) has been relaxed so that visitors can now enjoy the full extent of the interior and its fittings.
The original gothique fort was first mentioned in 1259, after it´s sale in 1358 it was widened so much that it became a full sized castle. First renaissance reconstruction came in 1512, after that it was referred more as a chateau, every owner added something more to the new look. The castle was seized and burned down by Swedes in 1643, later repaired and modernized in baroque style. It survived for many more years, but was not a residential castle, and in 1874 again burned down and changed into a ruin. Parts were disassembled in the 1930ies, and the stone used for building of a new road. Two walls of the tower collapsed in 1988, today only a few rooms survive and half of the main walls.There were plans for a complete restoration, but as seen today, nothing came from them.
Standlake church is architecturally intriguing, its remarkable slender octagonal tower and short spire delightfully quirky. The present building has its origin in the Norman period but most of what we see today is the result of rebuilding in the 13th century with much modification in the following centuries. The church is cruciform with an ample nave flanked by aisles, and the pleasingly odd west tower seems a little shy compared with the usual assertive structures one is accustomed to seeing in this position.
The interior impresses with its sense of space, though the lighting is somewhat subdued, largely due to the interior having been scraped back to the stonework during the thorough Victorian restoration and the chancel (glimpsed beyond a modestly proportioned chancel arch) is full of glass by Burlison & Grylls which makes it darker still. There are features to enjoy, particularly a series of angel corbels that support the roof structures throughout the church, many Victorian but some more rustic medieval figures remain with slight traces of their original colour. Also remarkable are two torso fragments of medieval statues displayed in the south transept, both of which also retain traces of their original polychrome.
Standlake church is refreshingly unusual and worth exploring, and happily seems to be visitor friendly in being normaly kept open and welcoming.
All Saints church at Seagrave sits in a leafy churchyard down a quiet lane, its tower standing close to the road, beckoning to the visitor. It is a largely 14th century building with a nave flanked by aisles on both sides though has undergone much restoration in the Victorian period (when the chancel appears to have been rebuilt).
The interior is a light andpleasant space, its walls whitewashed and most of the windows clear-glazed. At the west end is the sandstone Norman font carved with a simple arcade design, a relic of the previous building indicating there was a church here back in the 12th century and probably earlier.
I assume Seagrave church is normally kept locked outside of services. We were lucky to gain entry here as the church wasn't participating in ride & stride on this occasion owing to a wedding later in the day, so we were grateful to the two gentleman who had unlocked the church ahead of this (and even luckier that we didn't coincide our arrival with the ceremony!).
St Peter's church at Astley is one of the more rewarding churches of Worcestershire, a handsome warm red sandstone building dating back to the 12th century with later alterations including the proud 15th century west tower. Much of the Norman work remains inside and out, and is particularly apparent in the almost unaltered south wall of the nave. The north aisle was rebuilt in the 19th century but the Romanesque arcade is surviving original work.
Inside the bare sandstone walls make the interior somewhat gloomy but there is much of interest to see regardless, with many memorials lining the walls and two particularly striking repainted Tudor tombs to members of the Blount family in the north chapel.
Astley church is well worth a trip and is happily normally open and welcoming to visitors.
www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...
St Michael & All Angels at Ledbury is not only one of Herefordshire's grandest parish churches but also one of its most rewarding. There is much to enjoy in this ancient building from its unusual architectural features to its interesting monuments and top quality glass.
The church is set back from the town's main street and accessed via a narrow cobbled alleyway, the view of its soaring spire beckoning the visitor onward. Upon arriving at the churchyard gates this massive building reveals itself to be full of surprises, most noticeably the tower and spire being detached from the main building and standing a short distance to the north of a beautifully detailed chapel on the north side (formerly dedicated to St Katherine) whose large windows are enriched with ballflower ornament. To the right the mass of the three-gabled west front greets the visitor, centred around the original Norman west doorway with its carved capitals.
Much of the Norman building still remains but aside from the west door the building has been modified and extended in the following centuries to the point that most of the exterior now appears to be of 13th or 14th century date. The detached tower dates back to the 13th century in its lower stages, but the topmost belfry stage and the tapering spire above are an 18th century addition by architect Nathaniel Wilkinson of Worcester. The spire is nonetheless remarkable for its sheer height, and visitors can often ascend the tower to its base during the summer months.
Inside the church initially has a vast, almost barn-like feel owing to the great space and somewhat low level of light, particularly as the eye is drawn towards the chancel which almost disappears into the gloom at first sight. The church is lit by a series of tall windows but the light they admit is more limited by the extensive collection of stained glass (though fortunately most of this is exceptionally good). The chancel is the oldest part, retaining its Norman arcades with intriguing porthole-like oculi above that would have been originally glazed as a clerestorey before the aisles were enlarged. On the north side (almost acting as a transept) is the former chapel with its large Decorated windows that is now separated by a glazed screen and is referred to presently as the chapter house. It contains some old fragments of glass and a fine effigy of a 13th century priest.
Throughout the church there are tombs and monuments of interest (not all well lit so at times the eye needs to adjust to the darkness) from the medieval period to the 19th century. Most of the windows on the south side are filled with rich late Victorian glass by Kempe, whilst in the north side is a more varied display with good examples of Pre Raphaelite, Arts & Crafts and more modern work by Burne Jones, Christopher Whall and John K.Clark respectively, in my opinion the most outstanding windows in the church.
Ledbury church is normally kept open and welcoming for visitors to this popular, tourist-friendly market town. It is well worth a visit, a well above average church!
Bacharach, Germany.
Built by the archbishops of Cologne in the 12th century, this castle protected the town and collected tolls from trade passing by on the river. The castle was heavily fortified and surrounded by a partial moat but was still conquered several times over the years. It was rebuilt in the 20th century.
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 real letdown.
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.
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.
St Lawrence's in Ludlow could easily claim to be the grandest parish church in Shropshire but also one of the very finest and most rewarding medieval churches in the country. It is a very large cruciform building dating mostly to the 14th & 15th centuries crowned by a soaring central tower that is a major landmark of the town. The red sandstone exterior however is otherwise somewhat elusive, being hemmed in by buildings in close proximity and thus difficult to get an overall shot of as a complete building.
The church is entered via an unusual hexagonal porch on the south side which admits access to the spacious nave and aisles. The crossing beyond is tall and narrow and adds a cathedral-like dimension to the interior, with views into the lower lantern-stage of the tower above. The chancel beyond is similarly impressive in scale and adornment with a fine 15th century wooden roof and much more.
St Lawrence's is especially famous for its interior fittings, most of all the superb medieval choir stalls with one of the best collections of misericord carvings anywhere. Less well known but equally important is the extensive collection of medieval stained glass in the eastern half of the church. Most of the glass in the chancel has either been very heavily restored or replaced entirely in replica by early 19th century restorers, but the glass in the north chapel is much more complete and despite some restoration largely retains its original appearance.
There are several notable tombs and monuments here also, including the heart burial of Henry VIII's older brother Prince Arthur (whose untimely death in Ludlow dramatically changed our history forever).
St Lawrence's is normally open to visitors on a daily basis and shouldn't be missed. The tower may also be ascended for some fine views over the town of Ludlow and beyond.
East Suffolk has a group of some of the grandest churches in the county, four particularly large ones of similar form, date and scale standing a short distance from the coast (and doubtless a couple more have long since disappeared beyond it). Two of these are now shadows of their former selves, having been reduced mostly to ruins with only a small section of the former building retained for worship and Walberswick is one of them.
St Andrew's at Walberswick beckons the visitor with its tall and stately tower and much of the south side of the building which is seen first from the road remains complete and in use, but this is only the south aisle of the former church, the nave, chancel and north aisle are merely empty jagged flint ruins and the former nave clerestorey (once similar to that at nearby Blythburgh) is almost entirely lost.
This condition dates back to the 1690s when the parishoners decided it was more practical to greatly reduce their large building than continue to struggle to maintain it, dismantling much of the fabric and rebuilding the south aisle (reusing old materials) to serve as the new church, opened in 1696.
The interior today is thus a rather simple but intimate space, devoid of much in the way of decoration but retaining the 15th century font (sadly mutilated) and some fine medieval woodwork remains in the pulpit and lower part of the chancel screen.
Walberswick church thus won't delay the visitor in the way that its neighbours at Blythburgh and Southwold do but is worth a look regardless, especially for the drama of its semi-ruinous state.
WYMONDHAM ABBEY | AERIAL-SCAPE | NORFOLK | MEDIEVAL ARCHITECTURE.
Title: Kett's Ending.
In: Ratio 4:2.
Cat: Medieval Architecture.
Sub cat: Mono Aerial-Scape.
Location: Wymondham Abbey, Church St, Wymondham NR18 0PH, England, East Anglia, of the United Kingdom.
RAW. 4:2. ISO131. 4.73mmfl. 26.3mm at f/2.2. 1/100 seconds. Mono. FC220 barrel lens. No external lens filters. No Photoshop. No SFX.
Kett was captured at the village of Swannington the night after the battle and taken, together with his brother William, to the Tower of London to await trial for treason. Kett was hanged from the walls of Norwich Castle on 7 December 1549; on the same day William was hanged from the west tower of Wymondham Abbey seen herein this picture. Both the Kett's were related and important figures back in the 16th century. They fought for what they believed in and was morally right, that no land that was free-land should be enclosed off by the rich of which made farmers and those trying their best to earn a living much worse off. Kett's name still lives on, the oak still stands, we have a Kett's hill in Norwich, and more that marks the rebels very brave fight for freedom, fairness for all, and equal living. What gives the wealthy the right to enclose free-land off and own it without buying it? Why should the poor suffer? Both Ketts were executed for standing up for the rights of landowners and the poor.
Photographer:
J.J.Williamson.
Freelance | Private.
Laugharne is a town located on the south coast of Carmarthenshire, Wales, lying on the estuary of the River Tâf.
The ward includes Laugharne, the village of Pendine and Pendine Sands. It was the civil parish corresponding to the marcher borough of Laugharne. A predominantly English-speaking area, just south of the Landsker Line, it is bordered by the communities of Llanddowror, St Clears, Llangynog and Llansteffan.
Laugharne was the home of Dylan Thomas from 1949 until his death in 1953, and is thought to have been the inspiration for the fictional town of Llareggub in Under Milk Wood, though topographically it is more similar to New Quay where Thomas mostly lived whilst he wrote the story.
Attractions in the town include the 12th-century Laugharne Castle, the town hall and the birdlife of the estuary.
Laugharne contains many fine examples of Georgian townhouses, including "Great House" and Castle House, both grade II* listed buildings, with a scattering of earlier vernacular cottages.
There are a number of landmarks in Laugharne connected with the poet and writer Dylan Thomas. These include: The Boathouse, where he lived with his family from 1949 to 1953, and now a museum; his writing shed; and the Dylan Thomas Birthday Walk, which was the setting for the work Poem in October.
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...
Further information and a good range of photos can be seen here:-
The ruins of Kirkham Priory are situated on the banks of the River Derwent, at Kirkham, North Yorkshire, England. The Augustinian priory was founded in the 1120s by Walter l'Espec, lord of nearby Helmsley, who also built Rievaulx Abbey. The priory was surrendered in 8 December 1539 during the Dissolution of the Monasteries. Legend has it that Kirkham was founded in remembrance of l'Espec's only son who had died nearby as a consequence of his horse being startled by a boar. The area was later used to test the D-Day landing vehicles, and was visited by Winston Churchill. The ruins are now Grade I listed and in the care of English Heritage.
Gatehouse ruins
Kirkham Priory gatehouse ruins. The armorials of various benefactors are visible sculpted on stone escutcheons
The Gatehouse of Kirkham Priory, built c.?1290–95, is a specimen of English Gothic medieval architecture. It is a rare survival of such a gatehouse, comparable to that of Butley Priory in Suffolk. It has a wide arch of continuous mouldings with a crocketed gable running up to the windows, with sculptures of S.George and the Dragon on the left, and David and Goliath to the right. Above the arch is Christ in a pointed oval recess, plus two figures below of St. Bartholomew and St. Philip, in niches. There are also many escutcheons with the armorials of the various benefactors of the Priory, including the arms of de Ros, Scrope, de Forz, Vaux, FitzRalph & Espec (3 cart-wheels, each with 6 spokes).
Heading over the Gloucestershire border Dymock church was my first port of call, and a fascinating building it is too. Tucked away in its leafy enclosure of a churchyard St Mary's is still largely a Norman building though with many later modifications. The section of blind-arcading on the south side of the chancel is the biggest initial indication of 12th century work (formerly this would have been connected to the now lost apse, replaced by the usual square termination in the following centuries). The south doorway in the porch is also Norman work with a foliate design on the tympanum. The tower with its short spire at the west end is a 15th century addition.
Upon entering the church one is first distracted by the window to the left of the Norman doorway, for this contains 15th century glass, presumably gathered here from another window inside the church (I don't think I've seen this situation before, where the church's most valuable remaining medieval glass is relegated to the porch, but at least it can be easily studied).
Inside the nave is rather dark and tunnel-like thanks to the long Norman walls (sadly scraped of their plaster in the Victorian period) that become more punctuated towards the east end by windows and arches into chancel and transept. A plaster ceiling above at least dispels some of the gloom below. It is an intriguing space that takes some time to explore, with a few memorials and older features of note, and some early windows by Kempe.
Dymock church is normally kept open and welcoming to visitors (when signing the visitors book I noticed I'd just missed out on bumping into some friends here from Stroud just the day before!).
Located in Kotor, Montenegro, one of the best preserved and most beautiful medieval fortified towns in the Mediterranean. It was built in honor of Saint Tryphon, the patron and protector of the city, on the same site where an older church had already existed long ago. That earlier church was built in 809.
The cathedral dates from 1166 and is one of the largest and most ornate buildings in Kotor. The cathedral was seriously damaged and rebuilt after the 1667 Dubrovnik earthquake, but there were not enough funds for its complete reconstruction. The modest bell tower on the left side of the facade is a result.
All Saints at Leamington Hastings is one of the more handsome churches in south Warwickshire, a largely 14th/15th century building with an unusually long chancel and an attractive west tower.
The church doesn't appear to be open to casual visitors as I found it locked without keyholder details (I have been inside once before but that was over three decades ago). I can't blame them for being cautious here though, in 2009 the church was one of a number hit by arson attacks (the worst affected being Radford Semele which was gutted). Here the damage was significant and much of the south aisle roof was destroyed. It has all now been beautifully restored, though I could only glimpse the work inside through window panes.
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Arles, a town with abundant Roman and medieval architecture, also sports this very modern Frank Gehry tower that houses the LUMA Arles Art Center. As typical of Gehry buildings, it was controversial at first but now is accepted as part of the city. Note this same progression of taste is typically French, the Eiffel Tower was reviled when it was first built but then the city wouldn't let him tear it down when the Exhibition was over.
This is looking straight down from the 8th-story observation deck.
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Bacharach, Germany.
Built by the archbishops of Cologne in the 12th century, this castle protected the town and collected tolls from trade passing by on the river. The castle was heavily fortified and surrounded by a partial moat but was still conquered several times over the years. It was rebuilt in the 20th century.
Holmer church near Hereford is a sturdy largely 13th century building distinguished the a fine timber-framed upper half of its tower on the south side, one of several such church towers finished in black and white timber to be seen in Herefordshire.
Alas the church isn't generally open to casual visitors, being normally kept locked and only opened when in use for Sunday services.
The ruins of Kirkham Priory are situated on the banks of the River Derwent, at Kirkham, North Yorkshire, England. The Augustinian priory was founded in the 1120s by Walter l'Espec, lord of nearby Helmsley, who also built Rievaulx Abbey. The priory was surrendered in 8 December 1539 during the Dissolution of the Monasteries. Legend has it that Kirkham was founded in remembrance of l'Espec's only son who had died nearby as a consequence of his horse being startled by a boar. The area was later used to test the D-Day landing vehicles, and was visited by Winston Churchill. The ruins are now Grade I listed and in the care of English Heritage.
Gatehouse ruins
Kirkham Priory gatehouse ruins. The armorials of various benefactors are visible sculpted on stone escutcheons
The Gatehouse of Kirkham Priory, built c. 1290–95, is a specimen of English Gothic medieval architecture. It is a rare survival of such a gatehouse, comparable to that of Butley Priory in Suffolk. It has a wide arch of continuous mouldings with a crocketed gable running up to the windows, with sculptures of S.George and the Dragon on the left, and David and Goliath to the right. Above the arch is Christ in a pointed oval recess, plus two figures below of St. Bartholomew and St. Philip, in niches. There are also many escutcheons with the armorials of the various benefactors of the Priory, including the arms of de Ros, Scrope, de Forz, Vaux, FitzRalph & Espec (3 cart-wheels, each with 6 spokes).
The spire of St Oswald's church is the dominant landmark in Ashbourne, and the church beneath it one of the most rewarding in the county, being especially rich in stained glass and monuments. The earliest parts of the present building date back to the 1240s and the rest was added over the next century. It is a well proportioned cruciform building on a scale that befits a small town.
The chancel and transepts betray their 13th century date with their series of lancet windows while the nave is clearly later. The central tower and spire are of 14th century date and a particularly handsome specimen, considered the very finest by George Eliot. The building stands in a pleasant churchyard set back from the main road and is a delight to explore.
Inside the church is equally impressive and spacious, though the nave has a curiously lop-sided appearance, owing to the aisle and fine arcade on the south side but absence of anything to balance them to the north (along with the fact the south arcade doesn't quite line up with the arch beneath the tower). The prinicpal windows in the chancel and transepts are now large Perpendicular style traceried affairs full of Victorian glass, but originally would have been more consistent with the rows of lancet windows in the side walls of these parts of the church, a good example of Early English style.
Most of the furnishings date back to the Victorian restoration, as does much of the glass, though there are substantial medieval pieces remaining in the north transept and then a couple of lovely Arts & Crafts windows on the south side, most prominently the delightful St Cecilia window by Christopher Whall. The monuments are mostly to be found in the Boothby chapel on the east side of the north transept and, a fine collection of recumbent effigies, all medieval and Tudor with one notable exception.
Happily Ashbourne church is normally kept open and visitor friendly, and is well worth exploring. I am again indebted to my friend Sam for both my visits here over the years (a difficult one for me to get to otheriwse). I only wish I had a better set of photos as I was limited to handheld shots only, mostly in conditions that required something a bit more considered, thus I hope to return one of these days.
St Nicholas's Parish Church in Nuneaton provides the sort of stately and attractive landmark architecture this town sorely needs, though it is sadly somewhat marginalised by the current road layout, which has left it separated from the town centre by part of the ring road.
Most of the present building dates from the fifteenth century, and is a grand example of a prosperous looking town church, with aisles to nave and chancel and an elegant nave clerestorey (inside spanned by the original gorgeous panelled ceiling).
The interior is elegant, attractive and very light, owing to whitewashed walls and a lack of stained glass (all the Victorian glass was destroyed by wartime bombing, except for one window in the south chapel).
As in common with most churches in this part of Warwickshire, the church is generally kept locked outside of services.
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."