UK – Page 5 – TRAVEL WORDS

Just Back From… Surrey

During another brief stay with my daughter in Surrey over the early spring bank holiday I took the opportunity to visit some different places in the region. First of all we decided to break up the journey by overnight stops each way. Although it can take as little as 5 hours, with unexpected traffic delays it can be much longer and by breaking up the journey we only had fairly short drives.

Hindon

First stop was at The Lamb in Hindon, Wiltshire. Just over 3 hours away. We went for a meal there last year during our Wiltshire holiday and liked it. The village is very pretty and close to the A303 so not far off route. The first thing we did after checking in was to get a couple of (very expensive) G&Ts and sit outside on a very warm day! Luckily we found some shade. Then before dinner we had a stroll up past the church. The room itself was one of those with wonky floors so you always feel as though you are on a boat. The stairs leading up were steep and narrow, not the best for elderly folk carrying a suitcase. I was surprised that the (young) chap taking us up didn’t offer to carry one! Dinner was okay, again expensive, but this area does seem to cater for weekenders from London (only 1½ hours away).

St John the Baptist church

A thatched cottage

Wisteria

Winkworth Arboretum

As my daughter works on a Thursday I took myself to the arboretum in Surrey, not far from Guildford though my Google map seemed to take me the most long-winded route through narrow lanes and little villages I have never heard of despite living in the area for 7 years. The bluebells were looking good and probably what attracts people to this place at this time of year. I had forgotten how steep the land is and fell foul of an ongoing issue with my right knee which has started to lock when going downhill which is very painful and makes it difficult to continue walking. On a very hot afternoon I was most grateful for the shade of the trees.

Azaleas

Bluebells

Hever Castle and Gardens

Childhood home to Anne Boleyn this place in Kent was added to and changed over the centuries. In 1903 it was bought by William Waldorf Astor and the castle was restored and the pleasure grounds created. My daughter and I had a lovely afternoon exploring the gardens and the castle. More about this place soon.

Isabella’s Plantation in Richmond Park

Spring is the time to visit this place. It is a riot of colour with banks of azaleas and rhododendrons. No wonder then it was full of visitors. Here’s a few of the amazing blooms, but I will do another post with more photos.

Of course time was spent with the family, visiting a garden centre and choosing plants for my daughter’s front garden, helping in the garden, sharing meals and best of all talking. I even saw something of the grandchildren this time!

Returning home our overnight stop was in Ilminster which is practically half way. We didn’t arrive until evening and ate at a local brewery chain so we didn’t explore the town and no photos were taken even though the hotel was pretty enough and our room had lovely views over the surrounding countryside. After breakfast we decided to head straight home.

All in all a good trip with pleasant driving conditions and mostly decent weather.

Spring Greens

There is nothing like observing the fresh new greens of spring and the stillness of water on a hot day to bring a sense of serenity: a state of calm, peacefulness, and tranquility. Inner peace and stillness.

Lens-Artists Photo Challenge #348 | Serenity

Truro Cathedral: Stained Glass

It was the largest stained glass project ever executed and has some of the finest Victorian stained glass in the country, produced by the leading company of the time: Clayton and Bell. The scheme has three big themes: the Trinity, Biblical stories and the history of the English church. Alongside these are three lesser themes: Cornwall, baptism and St Mary’s aisle.

There is a recommended route, so that the interrelationships between the windows in each part of the Scheme can be explored, but of course I hadn’t realised that. Now that I do it may be a good reason to return to the cathedral and be more observant.

The rose windows

The greatest windows are the three great rose windows which reflect the Trinity;

God the Father/Creator appears in the great West window which is divided into seven sections for the seven days of creation

Jesus, the Son of God, is at the heart of the North transept rose surrounded by the prophets and his antecedents: Jacob, Isaac, Judah and Abraham, leading through to Mary and Joseph.

The Holy Spirit is at the centre of the South window with the twelve apostles around the edge.

The biblical stories

The biblical stories are told in and around the quire. The great east windows tell the story of Christ and his Passion.

The Deposition. The angels at the top hold the Crown of Thorns and the nails with which Jesus was fixed to the Cross

PLANGENT · EVM · PLANCTV · QVASI · SVPER · VNIGENITVM (They shall mourn for him, as one mourneth for his only son) (Zechariah 12:10).

St Stephen holding, in his left hand, a Gospel Book and, in his right, a martyr’s palm frond

He makes a speech before the Sanhedrin

The stoning of St Stephen

The history of the church

The choices reflect the late Victorian sensibilities and the enthusiasms of the two creators, like, for instance, the execution of King Charles I which I didn’t see. There is a flow to the sequence that does make sense. The theme starts in the South transept through to the retro-quire and quire. This section begins with St Peter receiving the keys from Christ and ends with St Benedict though my photos are rather more random.

Christ gives Peter the keys to the kingdom of Heaven. On the left is the youthful St John.

St James the Lesser, Peter and John receive St Paul and St Barnabas at the Council of Jerusalem.

The opening scene of the Divina Commedia in which Virgil, in a toga with a laurel wreath on his head, starts to guide Dante on his journey through hell and purgatory. Behind Dante stand a lion, panther and she-wolf.

John Colet teaching the boys at St Paul’s Cathedral School in London.

In the foreground are eight boys kneeling and looking at Colet. The scene refers to the end of the preface to the Latin grammar that he wrote for the school: “And lift up your little white hands for me, which prayest for you to God … ” There is a picture of the Child Jesus in the background. In the rear at the High Master’s desk is the celebrated scholar William Lily, the first High Master of the school.

Thomas à Kempis meditating near the monastery of Sint Agnietenberg (Mount St Agnes, shown at the top right) near Zwolle in the Netherlands.

Margaret Godolphin on the point of resigning her post at the court. King Charles II and Queen Catherine are seated on a throne on a podium, and Margaret stands below on the right with her head bowed.

Margaret Godolphin, née Blagge, of Godolphin House between Helston and Penzance was a Lady in Waiting to the Queen at the court of Charles II. She was a vigorous opponent of the lax moral tone of the court and resigned her position there in protest. She died in 1678 and is buried in Breage Church near Helston.

John Wesley preaching to the miners at the famous Gwennap pit near Redruth, the most renowned site for his field preaching in Cornwall. The figure of Wesley is surrounded by eighteen figures of miners and their families. A pit wheel and supports are in the background.

Victoria receiving news of her accession on 20th June 1837. In the foreground the young Queen, bareheaded and clothed in a nightdress and shawl, is holding out her right hand to the kneeling figure of Marquess Conyngham, the Lord Chamberlain. Behind Conyngham stands the bowing figure of Dr William Howley, Archbishop of Canterbury from 1828 to 1848

Albert Edward, Prince of Wales, lays the Foundation Stone of Truro Cathedral on 20th May 1880.

He is dressed in Masonic regalia and holds a maul. He is surrounded by a number of other figures associated with the occasion and the Cathedral, including the Princess of Wales, John Loughborough Pearson (Architect), Prince George and Prince Albert Victor. The background features scaffolding and other evidence of building work.

The other themes

Cornwall’s industry is included in the west nave windows, which feature mining and fishing through images of miners, fishermen, Newlyn harbour and Dolcoath mine.

The guardian angel of fishermen dressed in flowing robes and depicted with long wings, bare feet, and a nimbus with a bejewelled rim. The angel holds a net full of fish with floats.

In the foreground is a fishing boat, with an older sailor sorting the fishing net while his younger companion raises the sail. In the distance is a fleet of fishing boats, and to the right is the Newlyn lighthouse and jetty.

The guardian angel of miners, dressed in flowing robes and depicted with long wings, bare feet, and a nimbus with a bejewelled rim. The angel holds a miner’s Davy safety lamp in its right hand, and its left hand holds a pickaxe resting against its left shoulder.

To the left and centre are the pit head with part of the pit wheel and men working. The hill in the background is Carn Brea; the cross on top of it is a monument to Francis Basset, 1st Baron de Dunstanville and Basset, and to the left are the remains of Carn Brea Castle. The Basset family were the original owners of the mineral rights to Dolcoath mine.

And finally, there are the windows in St Mary’s aisle, which has some mid-Victorian windows from the original St Mary’s church on traditional biblical subjects, as well as some medieval fragments.

On the left: Christ summons James and John, who are in a fishing boat with their father Zebedee. On the right: The Sermon on the Mount.

This five-light window is the largest in the south wall of the aisle.

Each light shows a main figure above a related scene, and all are connected by the imagery and symbolism of water. This was, and still is, the baptistry area for the old parish church.

In the first light, Noah, holding a model of the Ark and a leaf to represent the one the dove brought back to the Ark, is placed above a scene with Noah, his wife and sons supervising the entry of the animals (including giraffe and lion) into the Ark. (I appear to have unfortunately cut this one in half).
In the second, Moses is shown carrying the two tablets of the Ten Commandments above a scene in which he leads the Israelites across the Red Sea.
St John the Baptist, holding in his left hand a staff to which is attached a banner on which is written Ecce agnus Dei (Behold the lamb of God) above the scene of the Baptism of Christ.
St Peter holding his keys and a clasped book above a scene of his baptism of Cornelius.
Finally, St Philip holding a scallop shell is shown above a scene of his baptism of the Ethiopian eunuch, whose chariot and horse are in the background.

The six south wall windows are all by William Warrington. They are typical examples of his use of bold primary colours, strong leading, dramatic design, and heavy painted shading.

a. The supper at Bethany. Mary, the sister of Martha, anoints Christ. b. Visitation of the sick. c. The Raising of Lazarus. d. The Good Samaritan.

It’s obvious that I need to return!

Truro Cathedral

It’s been a long while since I was last in Truro (other than hospital visits) and I never did get around to writing about the cathedral. On my first visit I wasn’t very enthusiastic, but my second was better and I was more interested in looking around. At the time there was some kind of exhibition which was very attractive and which has reminded me that maybe I should make another trip to the city and cathedral.

Formerly the site of St Mary’s Church, the Cornish Diocese of Truro was formed in 1867 and St Mary’s became the cathedral church. In 1880 the Foundation Stones of the cathedral were laid by Edward, the Prince of Wales, Duke of Cornwall. Work started on the cathedral under John Loughborough Pearson. Truro would be the first Anglican cathedral to be built on a new site since Salisbury Cathedral in 1220.

The architecture of the cathedral is often likened to that of Lincoln cathedral and French cathedrals like that at Caen: a mixture of Early English (Lincoln and Salisbury) and French Gothic. While the three simple spires are reminiscent of a French cathedral, Truro is only one of four cathedrals in the UK with three spires.

The light inside was wonderful on this day.

The Nave

Truro cathedral has three beautiful circular rose windows, part of the large and inspiring collection of Victorian stained glass created by Clayton and Bell.

God the Father: Truro’s west rose is the first of the sequence of three rose windows on the theme of the Holy Trinity. It is divided into the irregular number of seven inner and fourteen outer sections: this is to accommodate seven angels holding shields signifying each of the six days of creation and the seventh Day of Rest in the inner ring.

The statues of Bishops and saints are tinted, standing out amongst a sea of intricate wooden carvings. No misericords, unfortunately, nor are there any tombs in the floor of this Cathedral, far too young.

The wonderful brass eagle lectern supported by the four evangelists as it slays the dragon.

This is the area that is central to worship at the cathedral. Behind the High Altar is the magnificent reredos.

St Margaret’s Chapel. A contemporary area for prayer and contemplation located in the Retro-quire. Here you can see four paintings by Scottish artist, Craigie Aitchison.

As usual, I wander around looking for quirky details, reflections, light, shadow, colours that appeal to me.

Marble font – red stone is Beccia marble from N. Africa, the green stone is Serpentine rock from the Lizard in Cornwall.

Figure on the Robartes Memorial representing Death

The Way of the Cross with Simon the Cyrenian being forced to carry the cross. On the right Jesus addresses the daughters of Jerusalem.

The Tinworth terracotta panel at Truro Cathedral is extraordinary. “Our Lord on His Way to Crucifixion” made by George Tinworth, master craftsman and chief designer at the Doulton company is one of only three surviving examples of his large-scale religious works and the only one still on public view.

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The black ebony statue of Madonna and Child.

The Pieta carved by Breton monks in the 14th Century from Caen granite.

I’ll be back next week with a look at a few of the stained glass windows that caught my eye.

Exeter Cathedral

Exeter Cathedral was founded in 1050 with the enthronement of the first Bishop of Exeter and construction began in 1114, initially in the Norman (Romansque) style. The two towers are from this period. A major rebuild was done between 1270 and 1350.

Although it is 18 months since my visit to this cathedral I didn’t get around to posting about it. You may wonder why someone who is nonreligious enjoys visiting churches and other religious buildings. I can’t help admiring the craftsmanship that goes into these religious buildings. And of course they are a big part of our history.

The view from the west shows what appears to be a single tower on the left (north) side, but there is another one on the south.

White and honey stone was used to face the building, brought from quarries along the East Devon coast. Above the rows of statues is the beautiful 14th century tracery of the great west window and high up in a niche at the top of the west front is a modern statue of St Peter, the patron saint of the cathedral, depicted as a naked fisherman

Let’s head inside.

Measuring approx. 96m in length, Exeter Cathedral’s ceiling is the longest continuous medieval stone vault in the world. This style of vaulting is known as tierceron. The round stones (bosses) of the vault act as keystones and there are more than 400 of them carved with a variety of Gothic images including plants, animals, heads, figures and coats of arms.

The central boss over the high altar depicts the coronation of the Virgin

Ribs and bosses of the vaulted ceiling

One of the bosses shows the murder of Thomas Becket, Archbishop of Canterbury by King Henry II’s knights. It is a rare survival as Henry VIII proclaimed in 1538 that all images of Becket were to be destroyed. Unfortunately I didn’t manage to photograph that one.

Overlooking the nave is this unique 14th century Minstrels’ Gallery. The purpose of it is uncertain; its name derives from the 12 angels along the front, all playing medieval musical instruments including the cittern, bagpipe, hautboy, crwth, harp, trumpet, organ, guitar, tambourine and cymbals.

Part of the great west window, by Reginald Bell and Michael Farrar-Bell c.1950 depicts figures from the history of the cathedral. The central figure of St Peter is flanked by the cathedral’s founder, King Edward the Confessor and his queen.

High Altar and double arches below the Great East Window.

The Chapel of St Saviour and St Boniface or Bishop Oldham’s Chantry.

Bishop Walter Bronescombe (died 1280) includes his effigy which retains medieval paint

Bishop Edmund Stafford (died 1419) includes his alabaster effigy covered with graffiti

Carew family, installed in 1589

As is the norm in any cathedral you will find a number of tombs.

Tomb, or effigy of Sir Robert Stapleton, 1320, with headless attendant figures

Stories of Christian martyrdom through the ages are depicted in the stone panels of the 19th century Martyrs’ Pulpit. Designed 1876-7 by George Gilbert Scott, it shows the martyrdoms of St Alban, St Boniface and the Victorian missionary bishop, John Coleridge Patteson.

Scene on the Martyrs’ Pulpit depicts the beheading of St Alban, the first British Christian martyr, around 300AD during the Roman occupation of Britain.

Scene on the Martyrs’ Pulpit showing the murder of Bishop Patteson of Melanesia in 1871

The Martyrs’ Pulpit

Choir Stalls by Sir George Gilbert Scott completed in 1876, with John Loosemore’s 1665 organ case

The Quire stalls were installed by Sir George Gilbert Scott in 1876 during a 19th century restoration of the cathedral. It is uncertain when the medieval choir stalls were removed, but the seats in the back row incorporate one of the oldest sets of misericords. Unfortunately they are not in good condition and only one is on display.

The Elephant Misericord is the most famous of a complete set surviving from the 13th century under the Prebendaries’ stalls. The carving may have been done from a drawing of the animal given as a present to Henry III

Window by Christopher Webb (1886-1966) commemorating the bombing of Exeter in May 1942.

The clock in the north tower is an early attempt to represent the relationship of the earth, moon and sun.

The Astronomical Clock

Tower door

A hole at the bottom of the tower door in the north transept of Exeter Cathedral for the Cathedral Cat. The cat kept down the population of rats and mice and had a recognised position as a member of staff, with salary of 13d a quarter or 4s. 4d. a year. (s = shillling and d = penny)

Memorial to the men of the 9th Queen’s Royal Lancers who died in India

Also in the Nave is a memorial to the Polish 307 Squadron night-fighters who fought the Luftwaffe over the skies in Britain. On 15th November 1942 they helped protect Exeter from potential destruction. It was dedicated on the 15th November 2017, the 75th anniversary of the day that the squadron presented the city with the Polish flag as a sign of international co-operation.

Outside the cathedral, situated on the Exeter Cathedral Green, a statue of Richard Hooker dates from 1907 and is sculpted from white Pentilicon marble from Greece. Born in Heavitree in 1554, Hooker became an Anglican priest and influential theologian. Hooker was exceptional in promoting religious tolerance.

If the world should lose her qualities. If the celestial spheres should forget their wonted motions. If nature should intermit her course and leave altogether the observations of her own laws. If the moon should wander from her beaten way, the times and seasons blend themselves by disordered and confused mixture, what shall become of man who sees not plainly that obedience unto the law of nature is the stay of the whole world?

The quotation, from Hooker’s masterwork, Of The Laws of Ecclesiastical Politie