Fonts of beauty

My preference is to do the hardest bit of a day out first thing and then meander home, via churches, graves, trees and - hopefully - pubs. After getting the latest section of the Malverns under our boots a fortnight ago, I had a couple of churches to visit.

First of all, Castle Frome, to the north of Ledbury - a 'single treasure' church, Simon Jenkins announces, firmly of the opinion that it's only worth going for the font.  

Which I have to admit, is striking. You'd be hard pressed, in fact, to find a finer one, even with the damage incurred at some point in its long history. 

The church dates from the early 12th century; the font is believed to be no later than 1170AD. And as you can see, the carving is beautifully done.

Initially, I wondered if maybe this was a devil being attacked by corvids but no, it's Jesus being baptised, with the dove of the Holy Ghost doing the pecking.

And this is the lion of St Mark ...

... and the bull of St Luke. (The other evangelists are there too, but my photos are a bit on the fuzzy side.)

There are other nice things there too, though. The vistas are plain but pleasing ... 

... and there's a cracking early 17th century tomb belonging to William Unett and his wife, Margery.  

Look at William's fancy pants ...

... and the folds of Margery's clothes. Beautiful work. 

After Castle Frome, we headed south to Kempley, just over the Gloucestershire border. I'd been there the previous summer, when I visited the Norman church of St Mary's with its impressive mediaeval wall paintings. This time I wanted to bag the far more modern Arts and Crafts Church there.

St Edward's was built in 1903-04, to the design of Randall Wells, a pupil of William Lethaby. 

Being an Arts and Crafts geek, I'd been looking forward to my visit very much, but I have to say I preferred the exterior to the interior ...

... mainly because I couldn't help feeling it was a bit like being in a giant Swiss cuckoo clock. 

Something to do with the carving and decoration of the rood, I think. 

Though there was another stunning font, and lots of Arts and Crafts detailing, with many of the fittings being made by craftsmen either on site or at Gimson and the Barnsleys' Daneway workshop in Sapperton.

Ernest Barnsley's inlaid lectern ...

... and one of the candlesticks.

St Kenelm's Church, Sapperton

I had to travel to Oakridge Lynch in the Cotswolds on Thursday to drop off a dozen copies of my book at my cousin's house, so I decided to make an afternoon of it and take the dog for a nice, long walk.  We parked in the same little lane in Sapperton where I got snowbound 18 months ago and had a very slow and slip-slidey journey down off the scarp and back to Bristol.  No such problems in July. In fact, for once this summer it was glorious. 


I started with the church, and as soon as I walked into the churchyard, I spotted the grave of Emery Walker, engraver, printer and an acolyte of my all-time hero, William Morris.  How propitious!  


Lots of loveliness inside the Church of St Kenelm also, including Tudor linen-fold panelling and elaborate carvings from Sapperton Manor. 

I also loved the tomb of the topographer, Sir Robert Atkyns, who died in 1711, especially the figures to one side. (I know that feeling well.) 

There was also a very covetable, traditionally made oak bookshelf with a cupboard underneath, which looked as if it might have been crafted by one of Sapperton's celebrated erstwhile inhabitants, the Arts and Crafts architects and furniture designers, Ernest Gimson and Ernest and Sidney Barnsley.












Around the door, one of my favourite things, graffiti with serifs dating back to at least 1729.  This beautifully lettered example is from 1749.  

Back out in the summer, there was a proliferation of cranesbill and mallow, moon daisies, ragwort, grasses and angels.