The best cycling routes around Cranborne

The "Fordingbridge Bridge," known as the Great Bridge, is a historic seven-arched medieval stone bridge in the town of Fordingbridge, Hampshire, England, over the River Avon. While the current structure dates from various periods, including significant 19th-century widening, the original medieval bridge was built before 1252. It remains a prominent landmark, with views of the bridge best enjoyed from the nearby park or The George pub.  

there's a few ways to climb here, all rewarding

Interior Details: The interior is known for its high-quality flint work on the tower walls and a range of interesting features: Pulpit: A magnificent 15th-century pulpit is a central feature. Font: A 12th-century font is another medieval survival. Tomb Recess: Against the north wall, there is a canopied tomb recess from the 14th century. For a long time, it was thought to be a rare "Easter Sepulchre," but a skeleton was found inside during the 1860s restoration, suggesting it was a tomb. Organ: The church's organ is a fascinating piece of its history. An 18th-century Walker organ, it was gifted to the church and is said to have been used for choir practice at Westminster Abbey before its installation here. The church, set on a rise at the north-west corner of the village, is part of the "Knowlton Circle Benefice," which also includes nearby parishes like Cranborne and Wimborne St Giles, both of which are included on this cycle route.

All Saints Church is the parish church for the village of Gussage All Saints in Dorset. It's a Grade I listed building with a long and layered architectural history, primarily reflecting the Early English and Decorated Gothic styles. Medieval Origins: The church's main body, including the nave and chancel, dates largely to the early 14th century. The walls are constructed from a mix of local flint, rubble, and various types of stone, including Shaftesbury Sandstone and Heathstone. The Tower: The impressive west tower was built in several stages. Its lower part dates to the 14th century, while the upper stages and embattled parapet were added in the 15th century. The tower is particularly distinctive for its use of alternating bands of flint and ashlar stone. Victorian Restoration: Like many English churches, All Saints underwent a significant Victorian restoration. In 1864, architect Ewan Christian carried out extensive work. A notable change from this period was the moving of the original medieval chancel arch to the north wall, where it now frames the organ. A new chancel arch was then built by the architect John Hicks, who was a mentor to the famous novelist Thomas Hardy.

The interior of St Mary and St Bartholomew's is notable for its several historic and artistic features: Wall Paintings: The church has medieval wall paintings dating from the 13th and 14th centuries. These murals, found on the north nave arcade, depict subjects like Christ in Majesty, the Tree of the Seven Deadly Sins, and a large figure of St. Christopher. Pulpit and Font: A beautifully carved pulpit from the 15th century bears the initials "TP," believed to stand for Thomas Parker, an abbot of Tewkesbury Abbey and Cranborne. The church also has a 13th-century font made of Purbeck Marble. Monuments: Inside the church are several notable tombs, including a 17th-century memorial to John Elliot, who died at the age of seven, and a memorial for Edward Stillingfleet, a Bishop of Worcester who was born in Cranborne.

St Mary and St Bartholomew's Church in Cranborne, Dorset, is a Grade I listed parish church with a long and fascinating history. It was originally built on the site of a 10th-century Benedictine monastery, which later became a priory. Early Norman and Gothic: While the site has Saxon origins, the earliest surviving parts of the church are the 12th-century north doorway and fragments of the south aisle wall. The main body of the church, including the nave and aisles, was largely rebuilt in the 13th century in the Early English Gothic style. The impressive west tower was added in the 15th century. Victorian Restoration: The church underwent significant restoration in the 19th century. In the 1870s, the medieval chancel was demolished and rebuilt in the Gothic Revival style by architect David Brandon. Building Materials: The church's exterior walls are constructed from a mix of local materials, including flint and rubble, with dressings of various types of stone like Upper Greensand and Heathstone.

St. Giles Church is known for its numerous monuments, particularly those dedicated to the Earls of Shaftesbury. Sir Anthony Ashley's Tomb: A historic highlight is the spectacular gilded tomb of Sir Anthony Ashley, dating to 1628. The tomb features intricate classical columns and symbolism. A curious detail is a sphere at his feet, which has been the subject of various theories, including that it represents a globe, a jewel, or even a cabbage. Ashley-Cooper Family Memorials: The church houses several other memorials to the Ashley-Cooper family, including tombs for the 1st, 3rd, 4th, 7th, and 9th Earls. The 1st Earl's memorial includes a bust by Rysbrack, and the 3rd Earl's is a grand wall monument by Scheemakers. Crusader Effigy: There is a much-restored 14th-century effigy of a crusading knight, believed to be Sir John de Plecy. Comper's Work: The interior is almost entirely a result of Sir Ninian Comper's restoration. This includes the highly decorated screen separating the nave and chancel, new stained glass windows, and the gilded tester over the altar.

19th-Century Gothic Revival: In the 19th century, the church was remodeled twice. The most significant work was in 1887, a Gothic Revival-style memorial to the 8th Earl of Shaftesbury. The 1908 Fire and Comper's Restoration: A catastrophic fire in 1908 destroyed most of the church's interior, leaving only the walls standing. The 9th Earl of Shaftesbury commissioned the renowned Gothic Revival architect Sir Ninian Comper to restore and rebuild the church. Comper's work, completed between 1908 and 1910, is considered one of his masterpieces. He kept the 18th-century external walls but completely redesigned the interior, adding a new north aisle and a lady chapel. His intricate work, including stained glass, a wooden screen, and numerous sculptures, makes the church a "treasure-house of Comper work," as described by Sir John Betjeman.