Lively, young, relevant.read more

Over 1000 years old thus Anglican church is the oldest building still in use in the city of…read moreSouthampton England. It is the only church still active of the five originally in the medieval wall town. Well worth a visit.

Founded around 1070, just 4 years after the Norman Conquest, St Michael's is the oldest building in…read moreSouthampton and the only church from the original mediaeval town still in use. Of the original Norman church, only the central tower survives. The church was expanded in the 12th-14th Centuries, with the rebuilding of the chancel and nave and the addition of aisles and north and south chapels. The tower spire was erected in the 15th Century and rebuilt in 1732, then further heightened in 1887 to make it a better landmark for shipping. The interior contains the impressive the tomb of Sir Richard Lyster, Lord Chief Justice to Henry VIII, and a font of Tournai marble from the 12th Century decorated with three rounders on each side, one of which depicts St Michael the Archangel; the others depict creatures that might be Griffins or winged lions. The church also contains two fine mediaeval eagle lecterns from the 14th Century, one rescued from the bombed ruins of Holy Rood church in the Second World War. The church has a busy parish life with worship in a traditional style with a sung Eucharist.

A great spirit filled church with excellent teaching and worship.read more

St Michael's is a surprise: tucked away amongst the terraces in the fashionable Clifton area of…read moreBrighton, this large church seems almost out of place, its gothic red-brick contrasting with its white-stuccoed neighbours. It is only by looking up that you begin to realise just how big a building this is. That's partly because it is actually two churches in one, both built by renowned Victorian architects. The first was built by G F Bodley in 1861-62, and now forms the south aisle of the church. The interior features painted ceilings, tiled floors and polychromatic brick decoration. But the real joy of this part of the church is its pre-raphaelite stained glass windows, by Burne-Jones, Webb, Maddox-Brown, Gabriel Rossetti and William Morris. A stronger artistic pedigree from the 19th century would be hard to find. In 1893, work began on an extension by William Burges, with sculpture by Thomas Nicholls, which dwarfed the earlier building and became the main body of the church. This is in the French gothic style, on a cathedral-like scale, with an interior in stone rather than brick. The windows here are by Kemp, and there are other furnishings by Burges and Nicholls. But it is the sheer scale that makes this part special. The church is well worth a detour from the bustle of Brighton, in the streets below. As well as for services, the church can accommodate small groups for tours (arranged in advance). The church has recently become accessible for wheel-chair users.

Dubbed the "Cathedral of the Backstreets", St Michael's is a grand Victorian church perched on the…read morehill. Intended to provide moral succour to a godless city of decadence and excess it has been called the finest church in Sussex. It's an architectural gem. The first phase was completed in 1862 to a design by famous architect, George Frederick Bodley. It was subsequently extended in the 1890s. Followers of the arts and crafts movement should pay a call. There are fixtures, windows and other interior features by Edward Burne-Jones, William Morris, Philip Webb and Charles Faulkner. The church is open for visitors on Saturdays and there's usually someone on hand to guide you round. Proper guided tours are also held during the Brighton Festival. By Church of England standards its tradition is high, it draws a big congregation and the choir is very good too. The candlelit midnight mass at Christmas is particularly evocative and well worth attending. But do wrap up, it's cold in there. The church also serves as a cultural and community hub. The church hosts regular musical concerts and recitals as well as a host of lectures and talks through the year. The community hall is used by lots of groups and they also do important work for homeless people. Little known St Michael's fact. They do breakfast on a Saturday morning. It's a hearty breakfast and coffee for a few pounds and it's open to all. Check it out.

Located right on the High Street in Lewes, yet strangely hidden, St Michael's is a fascinating…read moreamalgam from different periods, with a distinctive and rare round tower, with a tall shingled spire. History The church dates from the late 12th or early 13th century, the actual date a puzzle as the pointed arches indicate a 13th century, but the round tower is more typical of the 11th or 12th centuries. There are two others of similar design in Sussex. The list of rectors goes back to 1283. The church was rebuilt in the 14th century with the addition of a south aisle, the arcade of which survives. However, the church suffered badly after the Reformation (Lewes being a fiercely Protestant town) and was semi-derelict by the 18th century. This necessitated a significant rebuilding in 1748, in which a north arcade was added, and the south arcade extended - unusually in wood - but in a vaguely matching style. A further rebuilding in 1884 extended the chancel, remodelled the interior and replaced three Georgian windows in the south wall with Gothic versions. The church The most distinctive external feature is the tower, now rendered, with a single pointed lancet window, and a later trefoil window above. The tower is adorned with a prominent sculpture of St Michael by Harry Phillips, erected in 1976. The 18th century frontage to High Street is an attractive example of square and knapped flintwork, with two doors, each surmounted by rounded windows, and the three Gothic windows inserted in 1884. Inside, despite the dark and atmospheric interior, one can clearly identify the distinction between the original 14th century arcade of slender Gothic arches, and the 18th century wooden versions - painted a slightly odd chocolate colour. At the west end of the south aisle is an original lancet window, an equivalent on the north side now blocked and infilled with a Victorian wall painting of St Pancras. The fittings are of extensive interest. Behind the attractive Victorian font are two brasses, relocated from the floor. The older brass, dated around 1430, is of a knight in full armour, now sadly headless, a lion at his feet. One heraldic shield survives. He may be a member of the extended de Warenne family (who built Lewes castle), possibly John Waryne, a member of the household of Henry IV. Adjacent is a half brass to John Braydforde, (d. 1457) a former rector of St Michael's. His brass has a wonderfully touching expression. On the north wall, a 16th century classical style memorial to Sir Nicholas Pelham shows him and wife facing in prayer, their ten children as mourners below. He is famous for his defence of Seaford against a French force which had previously sacked Brighthelmstone (modern Brighton). A wonderful inscription on the monument has a play on his name: His valr's proofe, his manlie virtues prayse; Cannot be marshall'd in this narrow roome; His brave exploit in great King Henry's dayes, Among the worthye hath a worthier tombe. What time the French sought to have sack't Seafoord, This Pelham did repel them back aboord. Opposite are the remains of the monument to George Goring, MP for Lewes, (d. 1601) and on the north wall a brass memorial records the life of Dr Gideon Mantell, (1790-1852), a local doctor, geologist and paleontologist. He discovered first the teeth and then a skeleton of an Iguanadon, now on show in the Natural History Museum, and is credited with helping inaugurate the scientific study of dinosaurs. There are two paintings, one large 17th century canvas of the Descent from the Cross, possibly by Balucchi, and one of the Madonna and child, thought to be Spanish of 17th century. Finally, the reredos is by celebrated Victorian Gothic architect J L Pearson. Through a door in the north wall, steep steps (formed from tomb slabs) lead up to the small but tranquil graveyard. A surprising space for the town centre, from the rear there are fine views of Lewes Castle's keep. Practicalities The church is normally open during weekdays until 5pm. The graveyard may be closed if the steps are wet. The church is part of the united benefice that includes St Anne's and St Thomas a Beckett in Cliffe. There is a Sunday Mass at St Michael's at 10.30am.

Walking along the treachorously Icy High Street of Lewes on a bitingly cold, snowy day, I came…read moreacross St Michael-In-Lewes, a 12th century church, welcome to all for prayer and contemplation. With the pure white snow clinging to the nearly sheer face of the church spire, and the surrounding areas all blotted out by the whiteness, the place looked like something out of a German fairy tale, set in a quaint little village somewhere in the Alps. Needless to say it was pretty darned beautiful, and I would recommend coming here, because architecturally the building is very interesting and quite rare. The clock that hangs of the side, gives the whole place that slightly disney-esque fairy tale, village feeling, which I guess in many ways Lewes is!

Went to a wedding in this magnificent church. Worth a visit just to take in the outside with its…read morestained glass windows. The interior is even better. I am not in any way religious but the Rev. Didier Jaquet gave a sermon that was less the old type sermon that I was used to as a child (which turned me from religion). It was informative and 'humorous'. More down to earth. A very nice person and very approachable. He MADE the wedding ( not forgetting, of course, the bride and groom).

The church's website describes All Saints as 'one of the finest churches of the nineteenth century…read moreGothic Revival'. Possessed of an extraordinary interior, it was much admired by the eminent architectural historians Pesvner and Sir John Summerson, and is well worth seeking out. The church was the vision of Thomas Peacey, the first Vicar of Hove when it was made a parish in its own right in 1879. He rebuilt the old church (St Andrew's) and erected another (St Barnabas), before turning his attention to providing a new and spacious Parish church. The architect chosen was John Loughborough Pearson, viewed by many as the greatest architect of the Victorian Gothic revival. Amonst other things, he was responsible for the new cathedrals of Truro and Brisbane, as well as many churches in London. All Saints was to become the largest and costliest of his parish churches. Work began in 1889 and was largely completed by 1901, although the base of the tower was not finished until 1922 (and the remainder of the tower has, unfortunately, never been completed). Pearson chose a French C13th Early Decorated Gothic style for the new church, which is built of Sussex sandstone, and roofed with Sussex oak. The outside is attractive enough, with strong pinnacles around the south transept and chancel, although the tower base looks forlorn with its humble pyramidal cap. But the interior is breathtaking. For a start, the scale and proportions are those of a cathedral: the nave is 40ft wide, and flanked by generous aisles. And the walls are entirely faced with ashlar stone - clear evidence of no expense having been spared. The plan is conventional, with an aisled nave, short transepts, south chapel and chancel. The nave is particularly impressive: five bays of clustered piers rise through large clerestoreys towards transverse roof arches. These provide a repetitive pattern against the dark wooden roof, emphasising the height and leading the eye towards the chancel. Only the south chapel and sanctuary have stone vaults. The windows are equally impressive, and the church carries an almost complete scheme of stained glass by the famous company of Clayton and Bell. The north transept has three twin-light windows with a rose window above, whereas the south transept has a magnificent five-light window. The furnishings are equally impressive and lavish: pride of place goes to a stunning high-Victorian stone reredos, of Pearson's design and carved by Nathanial Hitch. There is elaborate wooden carving everywhere, most notably the screens of the South Chapel, the choir stalls and the amazing organ case, the latter designed by Pearson's son, Frank Pearson. The marble font is a later addition, dating from 1928, and carries a large ornate wooden cover. Although the pews have been removed, the replacement chairs are reasonably sympathetic, and the interior is very well maintained. The church takes advantage of the splendid setting to stage a wonderful Sung Eucharist, every Sunday at 10h. During the summer, they also host classical music concerts every Thursday, May to September (free to enter but donations requested), and lay on tea, coffee and biscuits. The church also has an active programme of children's groups, as well as other outreach and support groups. Details of other services and events can be found on the website.

From the owner: All Saints Hove is an inclusive catholic parish in the Church of England. We believe that there is…read morea place for everyone to receive the unconditional welcome of God, and we are a member of the Inclusive Church network. We seek to give to give a voice to those on the margins in our society and use our facilities to support the homeless and vulnerable and champion the outcast and poor. Whether you are looking for a grand period event space or a casual, cost-effective location to run classes or meetings, we make various spaces available for hire, for the purpose of offering community services and strengthening community spirit and bringing residents together.

Just love this Church near Worthing! Maybridge Community Church is a growing friendly place to…read moreWorship with excellent teaching. There are lots of Worthing Churches so we are spoilt for choice but our family just found Maybridge suited our needs of a lively modern group of 'down to earth' people that are trying to live the Jesus life. The leadership are very transparent and that is very refreshing as the whole church community are involved in the prayerful way forward. Lots of things going on for children, youth, adults & senior citizens - Very involved with community projects. A perfect church? No, I don't think they exist, but certainly it's the best that we have experienced.

Believed to have been begun in the last decade of the 7th…read morecentury, Stoke D'Abernon's church contains an astonishing collection of monuments and furnishings from the subsequent centuries and is well worth a visit. It's a little hard to find: the manor house is now a private school, and so the church is within the school's grounds. History The church is believed to have been found in the 690s as the church of a local Saxon Lord or Thegn. The south wall of the nave dates from this period and, at first floor level, contains a door the Thegn would have used to access his private gallery (via an external staircase). The church was enlarged in the 1190s by the addition of a north aisle, and the present chancel was built around 1240 to replace the original Saxon apse. On the north side of the chancel a chantry chapel was built in 1485 by Sir John Norbury as a thank offering for his safe return from the Battle of Bosworth Field in 1485. The church underwent restoration and modification in 1852 and 1866. The 1852 work included replacing the original Saxon chancel arch with a pointed arch, on the original piers, but worse was to come in 1866 when all was swept away to erect the present wide arch a tragic loss. The later work also included extending the church to the west, adding another bay to the arcade and erecting the present rather incongruous bell-tower. The church From the outside, first appearances are deceptive: the tower and the restored walls of knapped flint make the church look almost Victorian: but the windows of the Norbury chapel are clearly original Perpendicular Gothic work. On entering, the Saxon doorway is visible high on the south wall. The easterly two arches of the arcade are original Transitional work, resting on circular piers, the original (east) pier bearing a faint original image of the Crucified Christ, along with two later pilgrim crosses scratched into the surface. The east chancel wall bears the remains of a mediaeval wall painting of the adoration of the lamb. It's hard to know exactly where to start with the fittings and furnishings, but pride of place surely goes to the two large brasses in the chancel floor, to Sir John D'Abernon (d. 1325) and his son, also Sir John (d. 1335-50). The oldest military brass in existence, the older D'Abernon is clad in chain mail and carries both a lance and sword, whereas his son is in later plate armour. There are 6 other brasses around the church, dating up to the Tudor period. The nave does not miss out either: there is a large late 12th century Crusade Chest (used to collect offerings for the crusades), a fine 17th century eagle lecturn, a stone statue from Italy the Madonna and child, still with its original paint, dating from around 1500; and finally, a magnificent late Elizabethan walnut pulpit, heptagonal in shape, and superbly carved with geometric patterns, soldiers, angels and some very peculiar half-human monsters which act as brackets for the legs, which were possibly carved in central America, from hackberry wood. Moving into the Norbury Chapel, there are more magnificent memorials, this time from the 17th century and with life-sized painted effigies. Sir Thomas and Lady Vincent (d. 1613 and 1613) lie together (he on the upper level and in full armour) on the north wall, while on the east wall, their daughter-in-law Sarah Vincent lies in a splendid Jacobean outfit, with her five sons and two daughters depicted as mourners below. Her husband, who remarried, is buried with his second wife. Next to Lady Sarah is a replacement late 17th century wall monument to Sir John Norbury (d. 1521), to replace the original monument which lay under the arch between the chapel and chancel, and was probably destroyed during a Puritan purge of such monuments. Above his monument hang his crest, funerary helmet and tabard. Below is the monument to Sir Edgar Vincent (d. 1941), the last of the Vincent line. He was British Ambassador to Berlin in the 1920s, and his monument contains a Roman funerary casket from the 2nd century AD. After these riches, the final task is to look at the impressive collection of mediaeval and renaissance glass, dating from the 13th to 17th centuries. Although little is original most was brought here in the 19th and 20th centuries it is an important collection in its own right. The baptistery window has original 16th century glass from the Norbury chapel and includes St Mary being taught to tread by her mother Anne. The church has regular services and is also open for visitors limited hours on summer weekends.