Kelston, North-East Somerset

A week or two ago we tried to visit some churches in North-East Somerset: Bitton and Queen Charlton. But they were both locked up tight. This is always very disappointing and really rather bemusing. Especially when there's no friendly notice about where a key can easily be retrieved (a neighbouring door is always nicer to knock on than a bald list of mobile phone numbers, the owners of which could be anywhere at all).

I've found some additional information about the carvings at nearby Kelston though.

This beautiful fragment of a Saxon cross was found by the late Rector, the Rev. F.J.Poynton, thrown aside amongst the rubbish of the old church at the time of its restoration in 1860. The stone isa n oblong square, and appears to have been in use at some former time as a door-jamb. It measures 2ft. 9in. in length, by 1ft. 3in. in width. When discovered, two of its sides were entirely defaced, and a third so injured that only faint traces of carving were visible at the top. The fourth side was smoothed to a surface with mortar, and had then received several coats of whitewash. It was in this state when Mr. Poynton undertook the removal of this facing, an operation in which he entirely succeeded and thus exposed the original carving to view. 

The sculpture is divided by a cable-roll into two parts, and a roll of the same pattern borders it, as in the cross at Bedale, in Yorkshire. In the upper division, which is the larger, is represented two central steps supporting a square, from which spring two stems. The stems are sub-divided, and artistically formed into turning convolutions, each terminal ending in a cordate leaf. Here and there small ovate bodies are introduced in the axils of the branches, which may be taken to mean either buds, or fruit, probably the latter. At no single point do the branches from the two stems unite. 

From the resemblance of the design to the figure of a tree, it has been conjectured that it illustrates a rude attempt to portray the Tree of  Life, but the presence of the fruit points rather to the other tree in the Garden, the Tree of the Knowledge of Good and Evil, since the "Tree of the Fall" is not infrequently met with in early religious art, and is sometimes seen displayed in mystic and typical connection with the Cross. Although, in this instance, the rigid form of the Christian symbol is not apparent, yet the accessories of the steps forming a Calvary, and a block for the socket, together with the flexible tracery of the branches are not a little suggestive of the union of the Cross witht he Tree, particularly as we find in some early examples - as that on a slab at Bakewell, Derbyshire - that the distinctive character of the Cross is preserved in the Calvary and stem, while it is lost in the interleaving knotwork that forms the head. The introduction of transitional foliage int o the curved lines of the coil renders this unique fragment one of high interest. The lower division is filled in with the usual form of the endless interlacing knot.

In order to preserve it from injury, Mr. Poynton has had this valuable relic placed inside the Church, fixed in the wall of the chancel on the north side, just exposing the sculptured face in projection. Late 11th Century.

 Yes I have been rubbishing some other interpretations of the things we see. But this time maybe I like the idea of the 'steps forming a Calvary' from which the stems emerge. And although two stems rather goes against the theory, perhaps we can just have them as nice planty knotwork.

Breamore, Hampshire

By now our sixth sense navigating skills were in the ascendant. Considering the amount of Anglo-Saxon awesomeness here, we should have homed straight in on it. Painted scenes in the high porch, long and short quoin stones outside, a big central tower, and inside, a superb time-travel-portal style doorway with writing over it. An Anglo Saxon inscription - how unusual is that? Very unusual, I can tell you.

The arch is in the lovely green stone that we've seen further north around Salisbury. And the imposts have big chunky twisty rope carving, like a delicious barleysugar, in a softly coloured honeyish stone. It's very nice.

Behind the arch were two long velvety red curtains which picked out the paint in the lettering. This was also rather good.

The writing is said to say 'Here the covenant is manifested to thee'. So listen up and stop staring at the stonework.

Here's the rood in the porch. It's been grievously hacked about, no doubt during the Reformation, when religious nuttery got in the way of aesthetic and cultural appreciation. But look at those bright colours, they're scarcely believable, especially the vivid light blue.

Now the trouble is, those arms are in a very particular, arched, formation. And of course looking at this we were instantly reminded of the rood at Langford in the Cotswolds. There I'd been so certain that the arms had been put back wrong when the rood was moved to the front of the porch, because Jesus's thumbs were on wrong. But here we have the same position as the one I considered 'wrong'. So I really don't know what to think now.

On the sides within the porch are more paintings. Here's what's believably Judas hanging from a tree. You can see his feet dangling for sure. And you can see the roots of the tree. So I guess that bright blue colour was once green. But there's not much else to be discerned other than his coat.

The interesting Painted Church website says that this painting is probably 15th century. And mentions, interestingly, that Judas doesn't hang himself in the bible. In modern internet talk, it's not canon. The way Judas goes in the bible actually seems more ripe for gorey illustrations. It's Acts 1 v18: "Now this man purchased a field with the reward of iniquity; and falling headlong, he burst asunder in the midst, and all his bowels gushed out." Gross.

I also have to show you the Breamore Lamb of God. Or is it a Dachshund of God. Sadly also hacked? Which seems a bit unfair and extreme.