Hot water bottle cover

I have previously tried using the delightful font at Hinton Parva for inspiration for art, and so from initial trials in felt, I decided to make something bigger.

The creatures and patterns on fonts and tympanums, which we have seen in our travels, lend themselves perfectly to creating something new and artistic. I wanted to do a bag, but not being that sure what sort of bag to make, I settled for a hot water bottle cover, the instructions for which I found online.

First I looked for inspiration in my sketchbook, from all the places we have visited. One of my favourites is the font at Hinton Parva, with its happy snake, birds, fish and unspecific quadruped. It is perhaps he (or she) whose jaunty stance appeals to me most. So I had my main motif for the hot water bottle cover. I then wanted to use some of the symmetrical designs we have seen to decorate above and below.

The zigzags with circles in that we have seen around several arched Norman doors seemed perfect for the purpose, so I used the sketch from Whaddon. I also chose part of the design from our lovely font at Christian Malford, and also the shell shapes from Bremhill for the neck of the bottle.

Not wanting to overload the bottle with creatures, instead of a lamb of God, I chose a pattern for the bottom half of the back, adapted from the doorway decoration at South Stoke, back before the blog began.

Here is the finished result. I am quite pleased with it, and even more pleased to pass it on to my sister, because it is through her interest in these fabulous works of art, that we have both been inspired to create our own artwork.  She made the observation that no one will ever have made a hot water bottle cover with this design before!

South West Wiltshire fonts (and into Dorset)

There seemed to be a cluster of fonts worth seeing in the south west corner of Wiltshire and just over the border into Dorset, so it was to these we set off on a sunny day.

Fontmell Magna

First stop was the one furthest afield, near Shaftesbury in Dorset. Fontmell Magna is a very cute village with charming houses of brick and flint. As you enter the church, which is perched up high, the Norman font is the first thing to greet you. We were keen to see it because around the bowl are eight carvings of birds: they look most like ducks or pigeons, with fat bodies and rounded heads. Each one was slightly different, which was pleasing. I drew two; one with a sort of diamond pattern on its neck and the other with a pattern of triangles. At the back of the church was a slightly neglected looking font bowl which was labelled Anglo Saxon. This was plainer and more worn.

Compton Abbas

Up the road we stopped at Compton Abbas church - there was a woman vacuuming so I said hello to alert her to our presence but that made her jump a foot in the air. We settled down on a pew to draw the pleasingly carved font. This one had been "recarved" in Victorian times and the foliage pattern stood out plainly from the bowl. However it was an interesting, varied design and the lines were flowing and organic.

Donhead St Mary

We drove back northwards and stopped at Donhead St Mary, another very quaint spot. This church had a lovely view of the hills and we saw the Red Arrows go over. I particularly liked this font, it was a lovely big chunky font with arches and little pillars. Above this was a complex interlacing design. I tried my best to draw what I saw and am quite pleased with how it came out. The church had a restful atmosphere.

Ansty

Further east, we stopped at Ansty, a small out of the way place with a beautiful old building next to a pond. It seemed a popular spot.  The church was small and plain inside but with a charmingly simple font, small and carved simply with a circular design, or droplets. They reminded me of Christmas baubles. It was a test to see if we could actually draw what was there.

Ebbesbourne Wake

Finally we drove on to Ebbesbourne Wake - one of a series of villages set high up on a ridge, which felt strangely out of the way from anywhere else. After getting unnecessarily lost looking for the church, we recognised the design of the font as similar to Steeple Langford. On a much smaller scale, but nonetheless just as pleasing. It was also in marble, but without any face details on the top side.  Each side had a different design, just like Steeple Langford. We did not do any drawing here but decided to head home.

We drove past a very cute little church at Fifield Bavant, perched on a hill in a field. We were just going to see if it was by some miracle open, when we realised there was a large horse between us and the church and then a dog wandered over from the farm opposite to see what we were doing. Not wishing to be attacked by either of them we decided to head home, as chances were such an out of the way tiny place would be locked anyway.

Bank holiday bonanza

As it was a Bank Holiday it somehow begged to be spent on a bit of a mega-trip seeking more Norman excitement - and despite the weather we did just that. It rained from the minute we set out to half an hour after we got in - but we did not let that put us off.

We decided to go to what is known by us as a "pink area" - which means that there is a cluster of churches in one area which have been rated (by us, via Pevsner) to have top quality carvings. Our ratings are based on what has been said in the book rather than our appraisal of it post-visit, and so they do not always prove accurate, but pinks usually have more than one thing of interest. It is amazing that this particular area, north of Swindon, is jam-packed full of churches with pink status, so much so that we could barely drive in any direction without encountering a pink village. Talk about being spoilt for choice.

Kencot

We drove to the furthest one north so that we could work our way back (probably wise, given that otherwise we could have been "just having a look at the next village" all day long).  Kencot in Oxfordshire (near to the wonderful Cotswold Wildlife Park) had a delightful little church and an equally delightful tympanum set over the main doorway. It featured Sagittarius with a bow and arrow drawn on a poor dragon's head. I loved the dragon's head, it was big and bold with a comical look and a pleasing eye and ear. Sagittarius had well observed legs and hooves and his name "Sagittarius" across the picture, which I was stupid enough to begin to write in the wrong place on my drawing!

Our next stop, on the road back south, was Langford, Oxfordshire. As soon as we approached we were amazed to see a large Saxon figure of Jesus (minus his head, poor chap) on the side of the porch. It looked very similar to the wonderful carvings at Daglingworth, Gloucestershire, because of the proportions of the figure, quite thin, with a long tunic and a rope tie around the tunic. We would have loved to draw Saxon Jesus but the rain just would not stop and it was not possible. Inside the church (accompanied by a faintly unpleasant smell) was a nice window of St Francis of Assisi and lots of birds.

Heading south again, we stopped at Inglesham, back inside the border of Wiltshire. We were not expecting what we found: the church is not one in active use but is preserved by the Churches Conservation Trust. It has escaped the sometimes ghastly make-overs done by the Victorians and as such you could see what churches used to be like before those times. Of Anglo Saxon origin, it has traces of wall paintings, wooden box pews and ancient memorials. There in the corner was an Anglo Saxon carving of Jesus and Mary, looking for all the world like some weird creepy alien face from modern times. I am not being sacrilegious, but simply describing what I saw. The features of Mary's face were rather strange, and although Jesus's facial features were a bit worn, we both thought he looked like he was an adult form on her knee, rather than a baby.

Our next stop was at the larger Highworth, where we glad to get out of the rain and find a re-positioned tympanum, over the entrance but inside the church. It was a touch too high up to see well and I did a most unsatisfactory drawing of it, but it was an interesting subject: Samson and the lion. Samson, in cloak and dress, had both hands on the lion's mouth. I feel he should have left him alone really. 

Disappointingly, Stanton Fitzwarren church was locked, despite proclamations on the notice board that we were welcome to come in and look at its history. I had been looking forward to seeing a font with detailed carvings of figures, but there are times when you are just not in the mood for ringing the church warden, especially when it was still raining and there were simply loads of other "pinks" to choose from along the way.

So we back-tracked north a little to visit Castle Eaton, and I was pleased to actually navigate accurately to the church for once. We were greeted by a pleasingly chunky font in the belltower, with a swirly foliage band around the centre, and also two more of the beautiful dragon head carvings on either side of the main entrance. These were smaller versions to the ones we have seen, but for me, equally appealing with their big toothy grins. And indeed we had had plenty to smile about in such a packed day and who cares that it rained all day, that is traditional.

Chippenham, Bremhill and Tytherton Lucas

Trips Out have even been squeezed in after work these days, so we were very disappointed to have missed the opening times of St Andrew's Church, Chippenham by half an hour. I was looking forward to seeing a chest in there from the thirteenth century.

We tried instead Bremhill, a small village not far from Chippenham. There we were pleased to find another appealingly decorated font, which had scallop shapes and a band of ridges above and below it. I am not religious but it is nice to just sit, undisturbed, in a quiet church and know that you will not be interrupted (in these heathen times!) The ridges were quite chunky and yet I was not very content with my interpretation of them. I have been using the coloured crayons to draw (they cover a multitude of sins and also add something to the picture) so I tried this time to render the font in pen. I am not sure that pen is my medium, but it will of course take time to practise!

After Bremhill we followed winding lanes to nearby Tytherton Lucas, a tiny village with seemingly very few people around. The church was set back away from the road and seemed to be accessible by a pathway that led up to someone's house - but no, what was this? There was a sign at the start of the path expressly forbidding people to use the path to access the church (except for services). The alternative route meant ducking under overgrown shrubs, through a gateway and then being forced to wade knee high through a field - it was hardly the welcome you would expect from a house of God. I for one did not enjoy it and I cannot really understand a house set opposite a church being quite so "unChristian" - after all, how many people can there be wanting to access the church, when it is in such an out of the way spot? I was going to march back down the pathway to the road, but my nerve failed me.

Naturally after such a trek, the church door was locked. We were determined to get a glimpse at the font so my sister stood on tiptoe and held her camera to the window to try to photograph it. As I watched her, I remarked on the extent to which her obsession had now grown. But to be fair she got a good photo and was able to draw the font from it.

Compton Martin, Blagdon and Cheddar Gorge

Another trip into Somerset found us heading West to Compton Martin. The church, St Michael, is one of the best examples of Norman architecture in the county, and it was packed full of carved capitals, a very nice swirly column, figureheads and a Norman font. I drew a cat-like figurehead high up on one wall and attempted to draw the chunky zigzag pattern which went around the top of the font. This proved to be a real challenge in observing what was actually there, instead of my brain taking over and trying to make it up without looking (which is what usually happens).

As we continued west, we drove past two man-made lakes in the Chew Valley region - the whole area is very picturesque and we stopped to look at some wild fowl on the water. We both liked Blagdon, and after one aborted attempt, managed to find four tiny Norman heads set in the wall near the altar. They were all smiling.

Out past Blagdon we drove through Cheddar Gorge (very impressive, but heaving with tourists) and also the Mendip hills. Although I did not do much drawing, it was interesting to see the very different scenery of Somerset.

Blagdon

Somerset wanderings

As we have done a lot of exploring in Wiltshire, we decided to head off into the wilds of Somerset. It may just be over the border but we both agreed that the geography and feel of the county is noticeably different to Wiltshire. I even admit I felt as if we were in a strange place, not so sure of ourselves.

Our first stop was Tellisford, a small place where it felt like locals were eyeing us warily as if they knew we were not villagers. The church was down a small mossy lane and in the front porch were two interesting heads either side of the door. I drew one with a strange beard.

Beckington was our next stop: here we found some creatures high up on the inside of the church walls, quite amusing but a bit high up to draw or see properly. The church blurb described them as lions, but given the obvious and celebrated history of the wool trade that the village had (visible on many church pictures), we thought they were more likely to be lambs. They had fluffy looking coats.

Then we headed to a place we have been before, but in the days when we were not drawing as a matter of course. Lullington is another sweet village, with an amazing door now at the back of the church, surrounded by fabulous beakheads (beaky creatures) of all descriptions. It also has a tympanum of two animal figures, carved capitals with figures and much, much more. I entertained myself by trying to capture some of the beakheads, though my cold was putting me off.

We ended the trip with a stop at Limpley Stoke. As you enter the church, the middle of the building as it is now is an amazing Saxon door, which was originally an entrance to the church on an outside wall. It was used by Saxon pilgrims making their way to Glastonbury.  In the solid narrow doorway are carved cross shapes which the pilgrims made.  It feels like a special place to stand, given that centuries ago you know people were passing through it. Its nature as a doorway gives you a real sense of stepping from one time to another. Here, if anywhere, would be the place you could walk through and find yourself in another time.

Sutton Benger, Lower Seagry, Christian Malford, Tockenham

Part of what I like about our travels is choosing where to go; sometimes it feels like it has to be further afield these days as we have been to so many spots in Wiltshire! But it is not the case, there is still much to be discovered and so this time we chose just north east of Chippenham, where we found plenty to keep us entertained.

Sutton Benger was the first stop, and unusually we found an old woman doing something at the front of the church. Although we rarely meet anyone on our travels (a telling sign for the Church today surely), we are never that comfortable when we do. I mean, it is hard to explain to people what we are doing and why; we understand, but I am not sure that they would. Luckily the object of our visit was outside and we were amused and surprised by its size and shape. It was a huge animal shape set high up on the outside wall, possibly as a gargoyle, possibly not - the front of its mouth was broken so we could not tell. I have never seen such a large carving set on the wall and it was the subject of great debate as to what creature it actually was: my vote is with cow, as it had the solid, rounded body of a cow and hooflike feet. It also had little ears and a rounded face. My sister however thought it might be more bear-like. I thought I could see a swishy tale. But like with a lot of these worn carvings, it takes a great deal of observation and sometimes some guesswork to figure out what they originally looked like. And does it even matter, as the form it is in now is just as pleasing to look at.  What amused us both as well as the size of it, was how one hoof was up to its face - it really looked like it was on the phone - or moo-bile, perhaps.

At Seagry, one of those places where you have to get the enormous church door key from a neighbour, there were two figures - a Norman knight and a woman. There were also some weird skull shapes on the wall as part of some memorial tablet. If ever we needed reminders that we are all mortal and that "the time is now", to seize the day, we get enough traipsing through churchyards. Seeing gravestones and sometimes catching sight of people who died young is enough to remind you to get on with things.

On to Christian Malford, no, not the name of an American filmstar but it could be. What a beautiful chunky font met our eyes as we went in. I am becoming quite fond of fonts and how each one is unique in its design. They share patterns such as zigzags, dots, curves but each one is always a surprise. This one was quite low, fat and squat. It was in quite a large church and we enjoyed sitting drawing it quietly.

Our final stop on this trip was Tockenham, where again we found another font, and although it had similar arches to the one in Christian Malford, it was different - this one was higher off the ground and very solid looking. The church also had a possible Roman figure in the outside wall.