Frome, Nunney and Pen Selwood

St John the Baptist church in Frome holds an unexpected delight in the shape of a Saxon carving set in the wall, with the now familiar intertwining lines (foliage? who knows?) and a serpent-like creature. It reminded me of those at Colerne and Ramsbury, our last trip. The pattern is worn at one end so it is hard to make out what is going on but the serpent creature had the same zig-zag markings as the ones in Ramsbury. A challenge to draw. Underneath they had set a seemingly Norman beast with four legs and the characteristic tail coming up from beneath. This one was like one in Ditteridge. We are now beginning to see simiarities and recognise distinctive features of both Saxon and Norman work. Oddly, the organist in this church was also practising, but not as uplifting a set of tunes, and we were glad to leave the gloomy atmosphere, although not glad to be leaving the jaunty creature.

Our second stop, Nunney, held two surprises. One good and one bad. There are the remains of a large, solid castle, which everyone had decided to visit on the same day, but it was fun to look up and imagine the rooms as they might have been. Just over a small bridge was the church and it was inside that the horrible surprise occurred. Hoping to find some fragments of Saxon carvings, we looked around in anticipation, but it was only when we consulted their leaflet that we discovered some bastard (let's not beat about the bush) had stolen three Saxon fragments in 2002.

We were quite appalled. There were drawings of them in the leaflet so we could at least see a sketch of how they were. One has a creature biting its own tail which would have been fabulous to see and draw. We drove on to our next village in utter disbelief, trying in vain to work out who would steal such things and why. It can only be for money and presumably these stones are now in some ignorant person's back garden, to make it "look nice." Those people who appreciate Saxon carving would not steal them, for they would appreciate their value as an object and their historical worth. They would want everyone to be able to enjoy them. So if you do not appreciate them for what they really are, why would you want them in your possession? It makes no sense to me. My sister investigated on the web and discovered that many carvings have been stolen and that one was up for auction for a ludicrous figure. I think that the more we publicise stolen artifacts, then perhaps there is the tiniest chance that one day someone will see them and realise what they are. It is really sad that people think their own wealth is more important than respecting what has been there for over a thousand years, which everyone should be free to enjoy. Luckily the majority of things we have seen have been too heavy to move (such as fonts) or fixed into the wall. If I was religious I would wish that Jesus would strike them down for taking it, but it is not to be. So keep your eyes peeled...

Happily nothing had been stolen from Pen Selwood, and try stealing a door lintel if you can, this one was a beauty. Two long bodied creatures facing each other with a dear lamb of God in the centre, in its own circle, carrying its own bag or notepad, who knows - it might be an artist too. The creatures were reminiscent of others with long claws, long bodies and curling tails, namely Ampney St Mary and Ditteridge. There were two human faces facing inwards over the door which were almost identical in style to the ones at Ditteridge - surely the same person. The Lamb of God was similar to that at Berwick St Leonard, which was not so far away.

Ramsbury and Hinton Parva

Wanderings recently took us to the beautiful village of Ramsbury, near Swindon, with narrow streets and old buildings. This was quite an unusual visit, as in contrast to the normal peace and quiet of the church, we were treated to the conversation of the cleaner and her friend, followed by the whine of the vacuum. However, this did not detract too much from the fine display of Saxon carving proudly displayed in one corner of the church. There were coffin lids and stones, with some very intricate patterns on all sides. The lines weaved under and over each other, and two sides also had a snakey or dragonesque creature. It was reminiscent of Colerne and the dragon carvings. The vacuuming ceased but was replaced by more melodic sounds, when the organist came to do his practice. This was quite enjoyable background music as we drew. You have to concentrate quite a lot to draw the lines accurately as they weave over and under. All the carvings were worn so in places you end up guessing what is going on, so that you can create a finished drawing. Above the knotwork and serpent, were three creatures in circles, all biting their own tales.

Our next stop was a little village called Hinton Parva, which was a much quieter spot. The church itself was smaller and lighter and suffered a little from damp. But it holds the most appealing font, with some delightful creatures and patterns. One half of the decoration is a series of figures of eight that intertwine. These are uniform until one end, where the pattern goes pleasingly wrong and completely out of line with the rest of it. We were joined by a member of the church who told us a bit more about it and also found the carver's "mistake" quite endearing. The other half of the decoration is really very entertaining. It is as you or I might draw creatures, which is why I like it so much. At one end is a snake, in the shape of a pretzel, with two birds and two fish. All of them have tiny dots for eyes. Around the side, after some foliage, is a four legged creature, on its side, resting its bottom on another bird. It is biting the end of some foliage. It is all very appealing.

Fantastic Fonts

The obsession is now reaching more and more counties. My sister has read Pevsner's books on different counties and noted the Norman and Saxon carvings which we must now somehow get to see. I even found myself reading Pevsner last week and watching a dvd about him. At the weekend we were lucky enough to be driving through Shropshire and Herefordshire and this meant that we went near to two fonts which Pevsner described as outstanding examples of what is known as the "Herefordshire School" carving, which refers to what may have been a certain group of masons working in this area, and Worcestershire, in the 1100s. The most well known example is Kilpeck, which I am sure we will get to one day.  But the two fonts we saw over the weekend were in one word, amazing.

The first one seemed to be in the back of beyond, in Stottesdon, a village in Shropshire. It was tucked out of the way and it seemed very dark inside, so that we had to open the front doors to get a decent look at the font. It was very large, and covered in the most impressive carvings. Both of us stood and stared in amazement (once we could see it clearly). The top has a wide band of interlaced plaiting around it, the centre has animals in circles, and cats' faces where the circles touch. We were both thrilled to see another lamb of God and this one - yet again - looked like a dolphin's head. Perhaps it is hard to carve lambs or perhaps they were copying the style of the time.  There was a rather appealing bull/cow/type creature, a dragon biting its own tail (possibly) and some excellent birds. The base was very fancy as well, with interlacing designs. It was all very impressive.

Hidden out of view, behind the ugly organ, was a tympanum over the south door. It was hard to see in the gloom and looked quite worn anyway - there were two upside down creatures and a third upright one.

We were unimpressed by the arrival of a woman who was more bothered about why we had (inadvertently) turned on the lights at the end of the drive, instead of sharing with us how lucky she was to be a member of a church with such an amazing example of a font of the Herefordshire school.

But if we thought that was good, Castle Frome held even more excitement. We nearly didn't stop to see it and we nearly didn't find the right village, but it was a good job we did. The church is really sweet and sits out of the way of the village. The outside is unusual and the porch and doorway is plain - because of this I wondered naively whether it would be good. But the door swung open and my sister literally gasped with excitement: inside, not hidden this time in darkness, is a marvellously ornate and beautifully carved font - very large and round, carved from one block, sitting on a base of strangely crouching figures (two that have lost their heads). The carving on the font was deep and sort of chunky, very tactile, although I managed to keep my hands off it, and so impressive. Around the bowl are the four evangelists in symbolic form: an angel, an eagle, a lion and a very charming bull. There are also two wonderfully observed birds, with their claws touching and their beaks jaunty, as well as a depiction of Jesus at his baptism, with John the Baptist, the hand of God and the Holy Spirit in the form of a dove. Jesus is particularly well done as he is standing in a pool of rippled water and you see the shape of his body through the ripples. In the pool are some fabulous fish.  My sister noticed that the human figures all had ankles with little circles on them, like an ankle joint.

It was better than tv and I imagine that these sort of pictures would have entertained the people of their time in much the same way that good tv can do these days. We were pleased because we actually noticed some similarities to the other font, and how the creatures all have long claws, and how the lion's tail comes up and curves over his body, exactly like the creatures at Ampney St Mary. We then read that these are features of the Herefordshire School style.

The base of the font was an intricate knotwork of patterns. No doubt it would have been tricky to draw. Sadly we were unable to stay long enough to draw this font, but it is one I would love to return to. The birds were particularly pleasing and the whole thing was beautifully preserved. The church community seemed to value and appreciate what they have there, from what I could see. If you are ever passing by, pop in. You will not be disappointed.

Colerne and Ditteridge

Having been far in our recent travels, into Gloucestershire, we stayed local this weekend by visiting nearby Colerne and Ditteridge. (We still had to stock up on lunch snacks. Drawing requires energy).  We had visited these churches together last year but I was not into drawing things then so this time it was more memorable.
Colerne church has two parts of a Saxon cross, associated with St Aldhem's burial in Malmesbury abbey in 709AD. They are set into the wall of the church, having been found in the 1800s. It means they could be 1200 years old, which is astonishing. Both were well worn. It was hard to see what was shown on one of them, but both had interlacing figures or designs, which were quite complex. The one we chose to draw was clearer to see: it depicts two dragons, with ridged bodies and long legs that inter-weave. They appear to be biting tails as well, and I thought I could see a hint of a wing at the end of one body - but a few of the details had to be imagined, particularly for the drawing. I enjoyed drawing something quite challenging, trying to show accurately how the legs crossed over and under each other. That forced me to look properly before applying pen to paper and we stood there for quite some time (as swifts screamed outside.) Once we were home, we both realised that if we turned the dragons on their side, the drawing was symmetrical and it was much easier to see what was in the picture. We decided that it would make more sense if the stone was on its side and that originally it was probably ninety degrees to how it is currently presented.

Dragons on their side in Colerne

Dragons at 90 degrees

  Then we went on to nearby Ditteridge, which continued the recurring dragon theme. Here were two dragons on the top of columns either side of the door. Facing inwards, between the door posts, were two faces, one with a curly beard. I drew both dragons, and am thinking I would quite like to do a larger piece of art with dragons as the theme.  The one on the left reminded me of the one at Harnhill, as neither of them seem to have back legs. I particularly liked how this one curved and I am pleased with my drawing.

Ditteridge dragon

font, Ditteridge

We had to shelter inside the church as the heavens opened (there I go again with the biblical language), and there is a lovely Norman font with circles and lines on it which I rather liked. My sister also liked the thin Norman window which had bright colours and criss crossing patterns. She has taken inspiration from our previous trip to Steeple Langford to produce a large piece of artwork, based on the designs around the Norman font there. I am impressed by its boldness and how well it evokes the sturdiness of the original stone.

Elkstone, Stratton and Daglingworth

It is not usually sunny on a bank holiday weekend, in my recollection, so my sister and I took the opportunity to go back to the area around Cirencester to see some more Norman and Saxon church carvings that we had rated those most worth visiting ("pink" on my sister's thoroughly researched maps). Once laden with the necessary snacks, we went up to Elkstone which is between Gloucester and Cirencester. Elkstone church is well documented for having a large amount of Norman carving, both inside and outside the church. It has all the different features which you could hope to find, namely, carved "beakheads" over the arch of the doorway, sculpted tops to the columns, a tympanum, animal and people heads outside on the walls, and inside, Norman carved arches with zigzags and flowers. We did not really know where to begin.

I was drawn to two dragons' heads that were inside the church, one each side of the first arch. Both were very well preserved, due to their position, and showed rather amusing teeth. I drew the right hand one, rather inaccurately, but it shows the overall character. In front of and behind the altar were two more decorative arches, the far wall having a pleasingly irregular zigzag pattern, and flowers, (with one tiny zigzag and flower squeezed in as if they'd planned wrong), and a detailed face pattern on the ceiling.

Outside, the door reminded us of Siddington (where we could not get into the church), as it had beakheads in a similar but not identical style, with one face having two arms holding the adjacent beaks closed and a double beaked creature. As well as beakheads, there was elaborate carving on seemingly every available column top and arch. In the centre of the arch, in the semi-circular space over the door (the tympanum) was a carving of Jesus or a religious figure, surrounded by animals including a jaunty lamb of God, a bird with some writing, and two more. We drew the lamb of God, as it was too complicated to try to draw any more. The lamb of God had a curiously rounded head which reminded me of a dolphin. Possibly the first "dolphin of God"?
I also liked very much the animal heads and figures on the outside of the church, high up under the roof. They were all different and included a centaur with a bow and arrow, a goat with a beard, a deer with antlers and an animal biting its own tail. There was also one that looked suspiciously like a dinosaur. My sister found the whole place slightly overwhelming, as did I, because there was so much to look at, it was impossible to know where to begin. Sometimes less is more, and simpler things are effective in their simplicity.

We moved on to Stratton, on the outskirts of Cirencester, and once I'd corrected my poor navigation, we found the church and enjoyed our lunch in the peace of the churchyard. As we walked down to the church porchway we had that sense of excited anticipation - what will the carving be like? Will the simple description in Pevsner translate to something quite impressive to behold? (Sorry, now I am using religious language!) I think that one of the enjoyable things is not knowing what the carving will really be like, as sometimes the book has simply failed to describe how unusual or impressive something is. Happily, the tympanum above the door proved to be very unusual, showing a complicated image of weaving lines and who knows what. It was hard to make out what was there, as some is worn, but you can see a spindly legged creature with a person's head, and long claws, next to a coiled serpent, and next to them possibly two more creatures with long legs, and a lot of foliage intertwined. The book said there was supposed to be a "tree of life" but we could not see a definite tree. Beneath the tympanum were what is known as saltire crosses.

Such is the other-worldliness and sense of another time with these places, is it any wonder that we are beginning to associate them with strange things? Last week after our successful trip to Harnhill, I could have sworn blind both myself and my sister had a photo of the dragon. But on further investigation neither of us could find one. Then this week, my sister took some photos in Elkstone and then discovered they were not on her camera. We get so engrossed in the drawing that we strode off down the road before we realised we'd not photographed the tympanum at Stratton and had to go back - much to the annoyance of a poor robin who had been trying to feed her chicks in a nest in the porch and hissed at us to get out of the way.

Our last stop was Daglingworth, west of Cirencester. It dated from Saxon times and had not one but four beautiful Saxon carvings, which were once, astonishingly, built into the church out of sight. I really liked these pictures, as they were done in a simple yet not naive style. One was of Jesus and the two centurions at the crucifixion, one was St Peter with his keys. The figures had interesting details such as their belts, done in a knot shape, and well observed hair and hands. They seemed so pristine. We generally prefer drawing animal shapes to human figures but these were rather impressive.

Carved creatures, South Gloucestershire

South Cerney door

The list of places to visit to see carvings, in particular carved creatures, is increasing weekly. My sister has now been through a book about Gloucestershire and we have marked churches of interest on the Gloucestershire map. Enticingly, there were many which we gave the highest ranking, based on the fact they had very unusual things there or many different things in the same church. It was too tempting to take a longer trip than usual, heading off on a sunny day to villages south of Cirencester.  There was a whole cluster of churches in a small area, all with our top ranking.

Our trips are so that we can have fun drawing. I have a new sketchbook, which is larger and allows me to draw more freely. Armed with our usual snacks, three-coloured crayons, ink and watercolour, we set off to discover yet more Norman and Saxon inspiration.

Saxon door, inside

outside

We stopped off first at Somerford Keynes, where the church has an original Saxon doorway possibly dating from the 8th century. It is not every day you see something from around 700AD, and this doorway was a real treasure. I did not know what to expect, but as you came in through the front door, (an old wooden door with a fabulous opening mechanism), the Saxon door was just to the left on the facing wall. In Saxon style it was tall and narrow. A member of the parish had been good enough to pay for its preservation; it was open to the outside, rather than blocked in, with a very tasteful panel of engraved glass across the space. It let in the light to the church and made a real feature of the Saxon door. Full marks to whoever designed this. Outside, you had a real sense of the history and atmosphere of the doorway, and could easily imagine Saxon people using it to go into their church.  It had 2 rope-like motifs over the top, and was beautiful in its simplicity.  Inside the church, we were disgusted to read that a fragment of Saxon stone carving had been stolen a couple of years before.

beaky creatures

Further north we stopped at South Cerney. From the book, we were expecting to see "beakheads" or as we call them "beaky creatures" - a feature of Norman doors that can be found in this area. Previous beakheads we have seen are of creatures' faces over the archway of a door, some of them gripping the archway in their beaks or mouths. We approached the church and were both very excited by what we saw. There were many beaky creatures gripping the archway, plus some beautiful carvings above the door posts and forming the archway. The whole doorway was very ornate and must have taken ages. You didn't know where to look, or what to draw first, such was the detail.Inside there were some Saxon crosses, later carvings and a resin copy of a wooden head and foot from a rare 12C crucifix.

It wasn't far to the next village, Ampney St Mary, but finding the church proved a little more difficult. It was not actually in the village, but a small distance away, on the main road. It turned out the original village had been evacuated due to the Black Death and since then the new village had grown up further away from the church. This church has a carving over a now blocked up doorway, which is very unusual and appealing. It has a long-bodied, skinny lion, with long legs, stretched over two faces that look almost cat-like, but are attached to long, almost crescent shaped bodies - who knows what they really are (some suggest a serpent

Ampney St Mary

but I am not convinced). Next to them is a creature with a bird's head, four legs and a long forked tail. (Both this tail and the lion's tail curl up over the bodies). The inside of the church was equally pleasing and there is a nice atmosphere: all over the walls are the remains of some medieval murals, which must have been very impressive in their day. There is another ancient wooden door and a simple and sturdy Norman font with a zigzag design. If you venture up towards the altar, you will see a stone screen and suddenly notice that one side of the church is leaning outwards at an alarming angle, which is a shame.

On the route back, we passed Harnhill, so we had to call in and see St Michael fighting a dragon, over the doorway. It was a little green, but the actual carving was charming and very bold. The dragon had its tongue out and was a really nice shape; I also liked St Michael's clothes, and noticed he too had wings...

St Michael and dragon, Harnhill

At our last stop, Siddington, we were disappointed to find the church padlocked at the gate. I find it hard to believe this is necessary in these small places. It prevented us from seeing the Norman font which sounded like it had impressive decoration. However, we could peak through the netting across the doorway to look at yet more beaky creatures - these however, did not somehow hold the same appeal as those at South Cerney. We thought maybe it was because they seemed more uniform, more flatter, and also looked newer - although I believe were also Norman. An interesting and unusual thing to note about them is how one beakhead had two arms, each reaching out to its neighbour and holding their beaks shut! The beak of the creature on the left was even pulled slightly towards the hand.

Drawings and dragons

Who would have known that inside the many churches throughout the country, lie so many interesting and different things to discover? My sister is very interested in Norman and Saxon carvings, which we have been drawing and which become an inspiration for artwork. She has devoted her time to going through the Wiltshire volume (and others) of Pevsner, picking out the churches where there are carvings and effigies that date back one thousand years or more. The earlier the better. She has joked that it is an obsession, as now there is a map of Wiltshire which we have colour coded to show the villages where there are carvings we wish to see. We have our work cut out, as there are many, but it is proving to be a great way to discover parts of Wiltshire which you would otherwise never see. The map helps us see where there are places near each other so we have been able to visit 2 or 3 places in one day.

Malmesbury Abbey entrance

 Our most recent trips took us to North Wiltshire, to the area around Malmesbury. If you want some idea of the peak of Norman carving, Malmesbury Abbey is the place to go: the doorway to the abbey is spectacular. There are no less than eight arches forming the entranceway, three which depict many scenes inside circles, such as people in boats, or animals, or people talking to each other. In between these are swirling designs, some like vegetation, others more geometrical. It must have taken the carvers a long time and would have been amazing in its time. It still is amazing, although some of the lower part is quite worn so it is hard to make out what the figures are doing. Within one circle, which I drew, it really seemed that someone was ironing great swathes of material; hard to imagine what else they were doing.  In the porchway are sitting figures, very well observed, although we felt their heads seemed squashed in under another figure.  Unfortunately for us we went along on Good Friday so the place was busy, but we managed to sit in the sunshine on a bench and the time flew by.

In contrast, we visited a tiny place in the middle of fields, called Little Langford, in the Wylye valley. It was a beautiful spot, undisturbed except for the passing trains, but a cool and inviting little church away from the village. It had over its door a wonderful early carving of a figure with three birds in a tree, and below him a boar, surrounded by three dogs, and a person. My drawing of it looked crude and childish but in fact the figures were simple and not entirely realistic in shape or size; the boars' feet were more like paws, and the dogs had long skinny bodies, but it was a very pleasing tympanum and I am happy with my effort. The archway over the top, a commonly found zigzag pattern, was notably different to usual zigzags in that it was not uniform in size; some zigzags were shallower than others and this asymmetry was very appealing.

Little Langford tympanum

I am constantly surprised by the differences between places; some churches are small and inviting; others are unexpectedly large in the middle of a small village. We have seen amusing heads of creatures (Steeple Langford), Jesus on a dragon (Stanton St Quentin) and a "tree of life" (Rodbourne). Rodbourne was particularly nice as it also had a small stained glass window of Adam and Eve by Ford Madox Brown, next to one of the Ascension by Dante Gabriel Rosetti. Who would think that they would come across Pre-Raphaelite glass in such a tiny place?

Tree of Life, Rodbourne

Tree of Life, Rodbourne

What is frustrating on our tour, for it is turning into that, is that in some places we arrive in anticipation of seeing something exciting, and yet when we try the big iron handle of the church door, the door is locked. It might have instructions as to where you can find the key (as in Rodbourne) or it might not; in which case it means we cannot see these things. I doubt there is a need to keep churches locked up as the crime rate in Wiltshire is surely low, and if there are items of worth in the church then keep them locked up. It strikes me as odd that churches of all places are not accessible, but we rarely see anyone on our travels anyway, not that this bothers me at all. 

My drawing is noticeably improving which is good and I am still using crayon to give an impression, rather than spend hours drawing the details. There are many more churches we wish to visit, such as yesterday, when we went to Whaddon.

Whaddon

Whaddon

Knook and Berwick St Leonard

While I am living in Wiltshire, I have been exploring the area with my sister. We have been going to churches which have interesting historical carvings from hundreds of years ago, including Norman and Saxon times. Neither of us are religious but we are interested in the carvings and we both like to draw them. My sister has compiled a list of churches which have interesting features, so we have spent many a happy weekend visiting a few at a time. The carvings are often very impressive and it must be because they are part of the church that they have survived so well.

Today we went to the village of Knook, in Wiltshire, to the small church of St Margaret. On the back wall of the church, outside, is a carved tympanum, over what is now a blocked up doorway. This is thought to be pre-Norman carving, and although it has weathered, you can see something which looks like curving foliage, or a pattern, and perhaps figures of animals. I find I can see figures of animals in most carvings, but that is because animals are a source of great pleasure to me. My sister could see two animals' heads near the top and we both thought there appeared to be two creatures facing each other in the middle, at least one had a tail and a foot showing.  Drawing them was very absorbing and good fun. I am not excellent at drawing but as with all creative things, it is good to practise. I find it therapeutic and satisfying. While you are concentrating on seeing the shapes and interpreting this on paper, you are not thinking about anything else. It is a welcome break from day to day issues. We were being observed by a couple of churchyard rats, from time to time.

Inside the church, (a welcome respite from the cold wind), there were two Norman carvings at the tops of pillars. One was more detailed than the other and had two images of flowers/plants (pictured). The other was more asymmetrical with a less well defined but more organic, like interlacing stems or plants. I thought I could even see snakes, or a dolphin shape.

After a brief look at the nearby River Wylye, we drove on further south to Berwick St Leonard. Above the door into the church is an "agnes dei" or Lamb of God. It is of Norman origin and high over the door.  I liked it as it had quite a jaunty figure and I was pleased with my drawing. It looked to me like it was holding a handbag between its front legs. I don't suppose it was, but I could only see it in that way and so that is how I drew it. As we drew, two lovely partridges hopped over the churchyard wall. On the outside of the church there was another Norman tympanum, with flower shapes. My sister drew this but I chose to say hello to the real lambs in a nearby field.

As we left the churchyard, we came across a rather beautiful beetle, who was quite large and had a lovely blueish purple tinge. We think it is a black oil beetle.

There is something refreshing about going to see these carvings and drawing them. How strange it would be for the person who carved them to imagine that in 1000 years' time, some people would be looking at them and drawing them in multi-coloured crayons. When you look at them and then try to create an impression of them on paper, you are really seeing what is there, rather than just glancing at things as we do every day. It takes time to observe them and I feel that it makes a connection across time to the craftsman, when we stop and consider how much time and skill he put into it originally. Thinking about the centuries between us somehow gives me perspective on things today and it positions me in time; centuries of people have gone before us and centuries of people will follow. What will people be drawing in 1000 years from our time? And will there still be drawing then?