Bredon - Buildings

Buildings

There are 43 listed buildings in the village, including St Giles’s Church and Bredon Barn (both Grade I), and the Old Rectory (Grade II*); the remainder are Grade II. A further 41 buildings were formerly listed prior to the abolition of the Grade III category in 1970. As is the case in most Cotswold villages, a variety of architectural styles and materials are in evidence, but almost all historic buildings are at least partly built from Cotswold limestone, quarried on Bredon Hill. Timber frame construction was used as a secondary material up until the mid-17th century (often not painted black and white until the 20th century).

The earliest surviving building in the village, the parish church of St Giles, is one of England's most admired churches. It is built largely in the Norman, Early English and Decorated styles. A substantial part of the nave, the north porch and the western tower arch date from the 12th century, with significant additions in the 13th and 14th centuries – the most visible being a tall, octagonal spire, dating from 1300–1350, made famous by the poet, John Masefield. A number of 14th century heraldic tiles are set in the sanctuary steps, showing the arms of England, France, Beauchamp of Powick, Beauchamp of Warwick, Mortimer, Berkeley and others. The church contains many interesting monuments, including several to members of the interrelated Reed, Copley and Parsons families.

To the west of the church is Bredon Barn, a late 14th century threshing barn (often incorrectly referred to as a tithe barn) measuring approximately 40 metres by 12 metres. It has an enormous steep pitched roof covered in Cotswold limestone tiles. Walls are of limestone rubble masonry, divided into 9 bays by oak posts on stone plinths forming aisles, and carrying the open timber roof. The barn was badly damaged by fire in 1980. Now restored, it is in the care of the National Trust.

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Famous quotes containing the word buildings:

    The American who has been confined, in his own country, to the sight of buildings designed after foreign models, is surprised on entering York Minster or St. Peter’s at Rome, by the feeling that these structures are imitations also,—faint copies of an invisible archetype.
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