The best cycling routes around Henstridge

Paddock Garden is Sherborne’s way of saying, "We’re modern now, but with layers of drama." Opened in 2005 by Alan Titchmarsh (the patron saint of sensible trousers), it’s built on the ruins of 18th-century cottages that were demolished just so the neighbors could have a better view. Rude. ​During WWII, German bombers mistook the girls' school tennis courts for something more threatening, leaving the garden with some unintentional "landscaping." Today, it’s a sustainable flex: the paths are made from half a million recycled plastic straws, proving that Sherborne is both posh and eco-conscious.

If you think your homeowner’s association is strict, try the Almshouse of St. John the Baptist. Established in 1437, it was basically a 15th-century "assisted living" facility for the "brave and the broke." ​The rules? Absolutely medieval. You had to be "of good character," which in 1437 mostly meant "doesn’t throw mud at the Abbot." The jewel inside is the Sherborne Missal, a book so fancy it makes your iPad look like a rock. Today, it stands as a gorgeous Hamstone time capsule where history is thick, the chapel is tiny, and the vibes are strictly "pious chic."

Originally a Saxon cathedral, Sherborne Abbey is a golden-stoned masterpiece of Perpendicular Gothic architecture. Its claim to fame is the fan vaulting—arguably the earliest and most spectacular in England—which spreads across the ceiling like delicate stone lace. ​The Abbey has survived fires (started by a bickering abbot and townspeople in 1437), the Dissolution of the Monasteries, and the test of time. Inside, you’ll find the tombs of West Saxon kings and the stunning Great West Window. It remains a living "lantern" of Dorset, glowing with honey-colored Hamstone and a quiet, ancient majesty that defines the town.

I always make time to pop in on my walks in this area as it is wonderfully calming and peaceful. I like to just sit and marvel at the talent of the architecture.

Pig pens all along the side of road, so many little piglets!!!

Though my bike is in the way, you have to trust me. Exceptional views to be seen from here

Victorian Additions: Major rebuilding occurred in the 19th century. The south wall of the nave was extended to create a new south aisle and porch in 1852, and the chancel was rebuilt in 1881. Wall Paintings: The church features 16th and 18th-century wall paintings, including a mural painting of the Creed and the Lord's Prayer above the chancel arch, dating from Queen Anne's reign (1665-1714). Rood-Loft Stairway: There is a rood-loft stairway on the northern side of the chancel arch, which would have led to a rood loft stretching across the chancel arch, typically holding figures of the Cross, St Mary the Virgin, and St John the Baptist. Consecration Crosses: Traces of Consecration Crosses, traditionally incised into churches during the Middle Ages as visible signs of dedication, can be found on either side of the oak screen below the west gallery (from the Charles I period). Stained Glass: While much of the stained glass is 19th-century, there is one small piece of medieval glass in a north aisle window. The east window of the chancel has a good example of William Morris factory stained glass.

Splendid 15th-Century Tower: A prominent feature of the church is its impressive 15th-century tower, which can be seen for miles around and is considered by some to be the finest example in Dorset. Norman Remnants: While largely 15th-century in its present form, the church retains an intriguing lone Norman pier decorated with scallops and masks in the north arcade, indicating a substantial building on the site from that early period. A 12th-century font bowl also survives. Coffered Nave Roof: The nave boasts a richly coffered roof from about 1520 with carved panels. Hussey Chapel: The north transept was incorporated into a north chapel, now known as the Hussey Chapel, named after one of Marnhull's prominent families. This chapel contains the Carent tomb, an alabaster effigy of a knight with his two wives, dated 1450. The somewhat mutilated state of the effigies is thought to be due to thieves stealing alabaster to make dies for coins.