A thorough survey of Flint Flushwork decoration, one of the finest artistic forms of the medieval craftsman.

The use of flint is uniquely interlinked with the history of mankind. In the evolving relationship between humanity and the natural world, the provenance of flint as a resource is, arguably, unparalleled. Its continuing use today is simply another link in a long chain of association that can swiftly transport the craftsman back to his ancient ancestors. In historical terms, humans were relatively quick to discover the usefulness and versatility of flint. It offered itself up readily, rising to the surface of the land. But perhaps part of the enduring fascination we have for flint is that it does not easily give up its secrets. Building with Flint is not only a comprehensive exploration of the history of flint and its traditional uses, properties and applications, but is also an invaluable practical guide for practitioners currently working in the professions of construction, architecture and design. As well as providing detailed insight and advice about good practice in flint work, it also inspires the reader to employ flint in innovative and versatile ways. In addition, this book is for anyone who is simply curious to unearth more about this versatile material and all its quirks and nuances.

Major interdisciplnary study of medieval church porches, bringing out their importance and significance.

Dorchester-on-Thames and its abbey have been subjects of antiquarian interest for more than 450 years, and during that time much has been written about them. They are, however, still far from being comprehensively studied and recorded. Indeed, the most substantial architectural description of the medieval church was written as long ago as 1845, and a thoroughgoing reappraisal has long been overdue. In this major new study on the origins, history and architecture of Dorchester Abbey, Warwick Rodwell assembles a huge amount of material from observations during repair and conservation and information derived from archaeological excavation, as well as the unexpected discovery of previously unstudied and unpublished topographical and architectural material, housed in several archives. The volume is divided into two parts: the first contains an account of the archaeology of the site and the architectural development of the abbey, while the second comprises a series of detailed notes and observations on the present structure, its fittings and furnishings.

The ancient churches and cathedrals of England's towns and countryside are among the glories of our national heritage, the church spire one of the quintessential features of the landscape. Yet how were our ancestors able to construct these often substantial edifices without the benefit of modern techniques? How did medieval masons plan, design and oversee their construction? What methods of construction were used to achieve the magnificent church spires and ceilings that we marvel at today? Geoffrey R. Sharpe brings more that forty years of experience of managing and caring for historic buildings to provide a unique guide to the design and construction of our historic churches and cathedrals. Building a cathedral could require a workforce of 300 to 400 men, the quarrying of 80,000 tons of stone and involve the felling of 1500 trees. How all this was organized, managed and realized is explained in this compelling volume. The author deals with all aspects - from original planning and preparation, to the final construction and decoration. The layout and choice of materials, the construction of the foundations, walls and ceilings, the work of the highly skilled medieval masons, blacksmiths and carpenters are all described and explained. Individual aspects of church architecture such as corbels, tracery and windows, as well as important features of church interiors such as galleries, burial vaults and screens are included. And in a final chapter the author shows the reader how to assess the history and development of a church from the constructional and architectural clues contained within its features. The result is a work that will add a whole new dimension to understanding English church building and architecture.

All landscapes are built on rock: from hard stone for building with, to the softest clay or sand. Each piece of rock is a storehouse of prehistorical information; even a simple pebble from the garden has its own complex tale to tell. Geology is the great detective science that can unlock these secrets. In this entertaining and eye-opening book, the authors take a deep dive – quite literally – into their home county of Essex. We are all living in an ice age, an ongoing event that has hugely affected Essex over the last 3 million years. Yet this county was born more than 500 million years ago. Our story begins when the land we know as Essex was part of a large continent close to the South Pole, tracing the geological processes that continue to shape the countryside around us. The form of the land, boulders on village greens, road cuttings, cliffs, stones in church walls – they can all bring geology to light in unexpected and fascinating ways. Aimed at a general readership with no scientific background but equally appealing to the seasoned geologist, chapters progress from fundamentals to intricate details of geological investigations and cutting-edge research. Richly illustrated with photographs and colour diagrams, here the geology of a county is visualised and brought to life as never before, along with pertinent environmental insights in the light of climate change that is happening now.

The definitive work on church archaeology.

This volume explores the importance of Norwich as the second city of England for 500 years. It addresses two of the most ambitious Romanesque buildings in Europe: cathedral and castle, and illuminates the role of Norwich-based designers and makers in the region.

'Warm, honest and full of inspiring tips, Florence's story shows us that pottery has the power to soothe the heart and heal the mind.' JULIA SAMUEL 'An honest and redemptive story about the power of fun and creativity - I've always said if it was mandatory to wear a smock once a week and get messy with clay, adults would be happier.' MIRANDA HART Sometimes, the smallest things lead to the biggest changes. When struggling with depression and feeling lost after the birth of her daughter, Florence St. George began experimenting with a lump of clay on her kitchen table. Pot by pot, bowl by bowl, she discovered that as her hands became busier, her mind grew calmer. In just a few years, Florence went from complete beginner to contestant on The Great Pottery Throw Down, learning what clay has to teach along the way: that creativity doesn't have to be expensive, that pottery is the perfect antidote to internet overload and that working with clay can ground you like nothing else. In The Potter's Way, Florence shares her tips on how to get started on your own pottery journey, from hand-building pinch pots to throwing large-scale vessels on the wheel. This captivating book invites us all to slow down, reflect and experience the transformative power of creativity. 'I have found nothing outside myself that can truly fill the void, but this book demonstrates that pottery is about as close as it gets.' NICK LOVE 'This book is a journey, with a map. Like all maps, it relay's history, from the first point of contact to pivotal moments along the way. I like a map. They help us to find our way.' INDIA HICKS

In this agricultural county of East Anglia, "scenery and buildings are a delight", wrote Pevsner. Numerous medieval houses and magnificent flint-faced churches with fine roofs and rich furnishings bear witness to the prosperity brought by the late medieval cloth trade. Castles are nobly represented by the unusual polygonal keep of Orford and the curtain-walled Framlingham, and great houses by a notable sequence of brick buildings of the sixteenth century. Among the coastal settlements are the lost town of Dunwich and picturesque Southwold; the varied inland towns range from Lavenham, remarkable for its exceptionally well preserved timber-framed buildings, to Bury St Edmunds, where fine Georgian houses are gathered around the precinct of the vast Norman abbey.