Holy Trinity Church in York

OK, more old churches: this time, from a recent visit to York.

Phrases like 'atmospheric', 'hidden gem' and 'perfectly preserved' often get bandied about when talking about old buildings, but this church, tucked away from the busy, touristy streets of old York, fits them better than most.

For a start, it really is hidden: the churchyard lies quietly secluded from the busy streets of York, accessed by narrow alleyways. It would not look out of place in a remote village. And it is exceptionally well preserved: such restoration as was undertaken by the Victorians seems to have been extraordinarily sensitive. It is about as close as you can get to how a church would have looked after the Reformation: dark, quiet, homely, with uneven floors, high box pews and plain walls. With candle-light it must perfectly evoke the late 17th century. It is rightly a Grade I listed building.

The church actually dates back to the 12th century, although the current building owes rather more to the 13th-15th centuries. The box pews are recorded as being repaired in 1633, and new ones added in 1700-1725. The pulpit dates from 1695.

But the church's most notable feature - as is so often the case in York - is its mediaeval stained glass. The windows are Decorated and Perpendicular in style. The best is the late Perpendicular east window: this dates from 1470-71 and was presented by the then rector, John Walker. The glass depicts saints, including St George and St Christopher, as well as heraldic shields, around a central panel in which a representation of God as the Trinity holding the dead Christ, with the donors at his feet.

Other features include a simple 15th century font and wall plaques recalling Lord Mayors of York, including the infamous 'Railway King', George Hudson.

Whether you just want ten minutes' peace and quiet, or some spiritual solace from the touristy rush that is modern York, a visit is a must.

The church is in the care of the Churches Conservation Trust.

Barcelona: Monastery and Museum of Pedralbes

OK, so I'm still trawling my recent holiday in Spain for inspiration, but when you go somewhere as nice but relatively unknown as Pedralbes, I feel I should bring it to the attention of the wider world. Situated some way out in what is now a genteel northern suburb of Barcelona, this is one sight that it is well worth travelling out of the centre to see: the Monastery at Pedralbes is one of the most important Gothic monuments in Catalonia. Its cloister is famed for its delicate architecture, and it includes important frescoes by Ferrer Bassa, a student of Giotto.

History

The monastery was founded by Elisenda de Montcada in 1327, the young Queen of the Catalan King Jaume II. Married at just 13 years of age, when King Jaume was already an old man, the monastery was intended as a place for her to spend her widowhood. Elisenda was never a Nun, however; the early monastery included a small palace complex, which was to be demolished upon her death.

The monastery – actually a convent – was built for the _Poor Clares_, the female equivalent of the Fransiscans. Built in the Gothic style at the height of Catalonia’s Golden Age, Elisenda’s generous endowment (the Montcadas were one of Catalonia’s most powerful and richest families) meant that no expense was spared on its architecture: the three-storey cloister is one of Europe’s largest and most harmonious.

Most of main buildings and the church date from the 14th century, although it was extended and improved over subsequent decades, especially the 16th. Many of the Nuns came from wealthy families, and brought considerable endowments, used to buy religious art and other sacred objects: even the size and layout of the Nun’s cells reflected their social status.

After the 16th Century it entered a period of decline, although it continued as a convent except for a short period during the Catalan Republic in the 1930s, when the Nuns moved out to escape the attentions of the Anarchists.

As a closed order, few people were able to see its interior or Treasures. In the 1970s, the Nuns opened part of the Cloister for public viewing one morning a week, which led to the Catalan Government negotiating greater access in 1983, when the cloister and most of the original monastic buildings were opened permanently as a museum: the Nuns (still a closed order) now live in a newly-built annex.

The complex includes a Treasury representing seven centuries of religious art, sacred objects and books. The collection is both unique and important as – apart from its size and quality – it represents one of the few intact collections of mediaeval and renaissance art still located in the institution for which it was intended.

The tour

The reception leads straight onto the Cloister, in many ways the highlight of the visit. Each side has twenty nine gracefully arched sides, arranged in three storeys. The use of incredibly delicate clustered columns of marble (much stronger than stone) gives an unusually light and open feel. The columns capitals are decorated with the King and Queen’s coats of arms, a clear fusion of the secular and religious.

Immediately on the right is the chapel of St Michael, decorated in 1343 from floor to ceiling with frescoes by Ferrer Bassa, a student of Giotto. Giotto’s influence is tangible in features such as the bold use of colour, naturalistic postures and almond eyes, although it is likely that Bassa’s own students did much of the work. The themes reflect the life of Christ and the consolations of the Virgin Mary.

Next is the chapel of the tomb of Queen Elisenda. It is in the Decorated Gothic style, with the tomb itself under a large canopy. The tomb is double-sided: on the cloister side Elisenda is depicted as a widow and penitent, attended by saints and angels, on the church side as a Queen. Adjacent to this in the same chapel – and rather smaller – is the tomb of the first abbess, Fransesca ça Portella. Back in the cloister, a series of three more tombs of abbesses are set against a background of well preserved but rather more prosaic 14th century frescoes.

Next, at the beginning of the cloister’s west side, is the entrance to the Treasures of the Monastery, contained in the enormous vaulted space of the original dormitory (first floor level – there is a lift). The exhibition also describes the development and use of this space, which in the 20th century was divided into individual sleeping cells. At the end of the dormitory is another vaulted room, the Queen’s Hall, which may be the only part of Elisenda’s Palace rooms to survive. The small but impressive collection consists of paintings, alter-pieces, crosses, monstrances and a rare, complete collection of late mediaeval books of sacred monastic choir music. Flemish and Italian art are particularly well represented.

Back to the cloister, the next part of the visit includes a number of the Nun’s day cells at ground and first floor level. Most of these can only be seen through their windows, and contain altars and pieces of religious art as well as everyday objects. The size and decoration of the cells reflected the individual Nun’s secular status and wealth – somewhat at odds with the principles of monastic life, but reflecting the circumstances of its foundation. The most interesting rooms (which can be entered) are the store room (which leads to an artificial cave, used for storing perishable items), and the dispensary of herbal medicines.

The cloister gardens are worth visiting at this point: part have been laid out as a mediaeval medicinal and culinary herb garden. They contain a pool, an elaborate 18th well-head above a huge cistern, and a three-tiered fountain topped by an angel.

On the far side of the cloister is the impressive dining hall and kitchen: the latter has large stone sinks and no fewer than three cooking ranges: an early 19th century tiled range, an early 20th century coal-fired range and a modern butane stove. Further along is the huge complex of the infirmary, rebuilt in the 16th Century – one of the best preserved examples of a late mediaeval hospital complex, with four large wards, each with space for four beds. It was paid or by King Philip II and bears his Coat of Arms. Below this is the vaulted Procurator’s office, where food, wine and other goods would be stored, a passage leading to the base of the cistern, and a store room containing a series of charming 19th and 20th century dioramas of religious scenes: making such scenes for public is still widely practised in Catalonia.

Past the infirmary is the Abbey, the home of the Abbess, which contains its original 14th Century wall decorations (resembling wall hangings) and an impressive 14th Century mural of the Crucifixion. The next and final room is the Chapter House, which contains another mural of the Virgin and child, 14th Century glass windows, and an impressive ceiling boss of the Virgin with the 12 apostles.

The Church is a large but spare example of Catalan Gothic (characterised by its height and width, and lack of flying buttresses), with side chapels and an apse. Originally covered in whitewash and frescoes, its 19th Century ‘restoration’ scraped it back to bare stone walls, which lend it a rather bare feel, but highlights the scale and forms of the architecture. The most impressive monument is the other side of the tomb of Queen Elisenda, this time dressed as a Queen, under a Decorated Gothic canopy.

Opposite the main entrance is a 19th Century building, decorated with capitals and carvings – some copies - from mediaeval (mostly Romanesque) churches.

Practicalities

The Monastery is a 15 minute walk east along from Reina Elisenda station, the terminus of line L6 on the FGC service from Plaça de Catalunya: take the lift from the entrance hall to Passeig de la Reina Elisenda de Montcada, and turn right. Alternatively, buses 22, 63, 64 and 78 stop just outside. The entrance is through an archway and then up a short street.

There are lockers to leave bags, lavatories and drinks machines by the reception, which also has a small range of items books, postcards, etc – for sale. The ground floor of the cloister, its gardens and the Treasury are fully accessible, but some of the rooms, the Procurator’s Office and the upper gallery of the cloister are only accessible by steep stairs. The street outside is also rather unevenly cobbled.

Access to the church is not included in the price or subject to the same opening times: it is still used regularly by the Nuns. It can be seen on a more restricted basis – telephone in advance or enquire at the reception for details.

The entrance ticket is also valid at six other sites run by the City History Museum of Barcelona (MCHB), including the Park Güell Interpretation Centre, the museum-building complex at the Plaça del Rei, the Museum Verdaguer and the Santa Caterina Archaeological Interpretation Centre.

Barcelona is a wonderful city, but there's no doubting that the centre is hectic and can get oppressive in the summer heat. Pedralbes is the perfect antidote - an oasis of peace and calm. But don't just take it from me - go and see it yourself.

Catch it while you can - Holy Trinity, Hove

The days may be numbered for this familiar landmark in Hove's Blatchington Road shopping area: formally declared redundant, this Victorian grade-II listed building is scheduled for demolition despite the pleas of the Victorian Society.

Built in 1863-68 to the design of a local architect, J Woodman, Holy Trinity came about as the result of Hove's early Victorian growth, which meant that the old church of St Andrew's could no longer cope with the bustling congregations. The erection of this new church was largely thanks to the energy and devotion of its first incumbent, the Rev. Fraser Taylor, who at the time was curate at old St Andrew's, Hove.

The design was in a rather bastardised form of Lombardic-Gothic style, of red brick, with a colourful mixture of black and yellow brick and Bath stone decoration externally. The windows are a mix of very narrow lancets and early Decorated Gothic forms, some with plate tracery. It has an attractive tower (the intended spire was never added), but the most notable feature, to the east, is a very rare external pulpit, erected in 1919, which has been scheduled for retention. The idea of this pulpit was to preach open-air sermons in the summer, which would make the church's presence more visible to local residents. Now, it is somewhat oddly located in the Vicarage Garden.

Internally, the church is rather less notable, although the elaborate capitals on the piers beneath the Gothic arcades are well done, and the sanctuary is a nicely proportioned space. There are a few memorials inside, most notably that of Fraser Taylor himself, and some attractive stained glass, mostly by Ward & Hughes of London. Also notable is the damage from incursions of damp, due largely to failing gutters: the major cause of such problems in churches.

The erection of the much larger and grander All Saints, Hove, a few minutes' walk to the east, was the church's undoing, however; this drew off much of the congregation, and the first attempt to close Holy Trinity came as early as 1931. It has soldiered on, largely thanks to a very loyal congregation, but has now been declared redundant.

There has been some local opposition to its closure, largely because it is a distinctive and attractive local landmark. It is not in the top rank of Victorian church architecture by any means, but I have a nasty feeling that any replacement building - whatever form it takes - will not be anything like as uplifting or interesting an addition to the urban landscape.

It is being opened to the public for a last look on Sunday afternoons (2-4pm) until September 2008. After that, the future timetable - and what happens next - is uncertain.

Addendum 2011

Reports in the local paper have implied the church may yet be saved through conversion into a health centre, depending on finance and planning permission. In the meantime, though, there's no question that the fabric is deteriorating. Fingers crossed...

A visit to the Church of St Nicholas, Poling, West Sussex

Poling really is hidden Sussex. It’s not remote, by any stretch of the imagination: it’s only a mile from the busy A27 between Worthing and Arundel, and two miles as the crow flies from Littlehampton. But it’s tucked quietly away, a mile down a small minor road off the A27, just over a mile east of the junction with the A283 to Littlehampton.

The lane is lined with old farms, brick cottages and newer houses: all are beautifully kept, not to say prosperous, with lovely gardens. In one of them, the author AA Milne and Christopher Robin once lived, and a swan from a local lake, ‘Hopper’, features in one of the ‘Winnie-the-Pooh’ stories.

The church itself is rather hidden: after a bend in the road, there is a name board for St Nicholas, but to get there you walk down the adjacent path and turn left past more immaculate gardens, around the back of Manor Farm.

The churchyard, like the rest of the village, is immaculately kept. The church is modest, and very Sussex, with flint walls and a low but well proportioned tower, with a sweeping roof of red tiles and Horsham slates. The interior is whitewashed, but charming.

Inside, the proportions give away a Saxon nave, to which was added a south aisle with an arcade of two bays of plain pointed arches and a chancel. The church guide and Sussex volume of The Buildings of England (Nairn & Pevsner) disagree about the date of the aisle: the guide gives 1180, whereas Nairn & Pevsner give 1300. I’m inclined towards the former, but both agree about a date of 1380 for the chancel. The tower was added around 1420 and the porch in 1830.

The nave and chancel are, unusually, the same height, so there is no chancel arch. Instead, the remains of a 14th century rood screen separate nave and chancel, and the composition is very attractive. There is a small Saxon window high on the north wall, and preserved below are the (incredibly rare) remains of the original wooden shutter.

Apart from the East window, which was replaced in 1830, the remaining windows are all attractive Perpendicular square-headed single or twin lights, dating from 1380 to 1420. The East window contains a small fragment of 17th century glass.

For a small country church it has a set of remarkably interesting furnishings. Pride of place goes to the brass on the chancel floor, to Walter Davy, vicar of Poling 1442-1499, decked out in his best ecclesiastical garb. The interior has other 17th and 18th century memorials, but by the south door is very rare survivor indeed: an iron-bound poor box on a pedestal. On the top are the initials Rt de H I C of A, and a date of 1285, thought to refer to Robert of Hastings and his wife, Isabella Countess of Arundel. On the front is the date 1797 (more likely to be the true date).

Above this is a stone inscribed (complete with spelling mistake): PRAYE REMEBER THE POORE. Opposite is an ancient stone tub font, thought to be Saxon, with a rather odd, modern decorated font cover from 1946. The west wall of the Nave bears a fine painted Royal Coat of Arms of George I, dated 1714.

But my favourite item is a headstone, located in the porch. It is dedicated to Alice, the wife of Robert Woolldridge, who died on 27th May 1740, aged 44 years. It has a wonderful rhyme, and one which is not entirely inappropriate for our own celebrity- and wealth-obsessed times:

The World is a round thing
And full of crooked streets
Death is a market place
Where all Men meets
If Life was a thing
That money could buy
The Rich would live
And the Poor would dye

The church is still a focus of its tiny community, and judging by the state of the graveyard and the beautiful flowers, it is well loved.