This week we had a little day trip over to Hereford, part of the Welsh/English border counties area where we hope to move next year. Visiting Hereford Cathedral was top of the list of things to do in our short time (as we had caught the train out). It is smaller than one of our local favourites, Gloucestershire Cathedral, and the stone is darker - a pinky, shadowy sandstone, unlike the light limestone we are used to in the Cotswolds. We were given a very warm welcome and there were so many interesting and quirky features, not the least being this wonderful - chandelier is the only word for it - poised like a halo or abstracted crown of thorns, above the crossing. Looking from this point towards the High Altar and far beyond to the Lady Chapel -
- and seen from the side, with a crucifixion painting just to the left which I instantly recognised as a Craigie Aitchison and later found that it has been loaned to the cathedral by the Jerwood Foundation. I'd love to see this area at night, when it is illuminated.
Prayers are said every hour, which is a welcome little spiritual breathing space.
Another familiar British artist is represented here, these three tapestries by John Piper. I found it quite difficult to get really good shots inside; it was as if the dark stone absorbed the light and colour.
Rather tickled to see the attention to detail here - behind the High Altar, a sight not often seen - the backs of angels.
I've never seen so much painted stone and wood, especially in the Lady Chapel -
We have, it seems, been a nation of animal lovers for a very long time - many of the great and the good have a companion situated at their feet and it's often a dog of some description.
Albeit sometimes headless.
Just off the Lady Chapel is the Audley Chapel, through which you can just glimpse the superb modern stained class windows made by the great contemporary artist Tom Denny, whose work we have also admired in Gloucester Cathedral, as seen here. It was actually heaving with admirers, despite this snap, so I left it for another day.
What I love about our cathedrals is that they are, on the one hand, vasty deep and magnificent - after all, they were built to be all about power and statement, both politically and religious.
And yet there is also such exquisite detail;
- and in the tiny, confined space of the Stanbury Chapel, dating from the late 1400s, it is almost claustrophobic, as if one were sitting inside a carved seashell.
Finally we wandered down the cloisters, where we noticed the unusual carved wood ceiling supports. And a few cobwebs.
And at the end, a neat pile of odds and ends of salvaged carvings, most of them look medieval or earlier to me. Not that I'm an expert.
I can spot a foliage man head in there...
We didn't look at the famous Mappa Mundi, because it would have cost £6 each and as ever, we are counting our pennies. But we should be living close by one day, so it will be a special treat for the future.
I am aware of how inadequate my photos are, for expressing the sheer magnitude and majesty of this wonderful sacred building, but happily there is an excellent 360 degree virtual tour of Hereford Cathedral, which can be accessed through the left hand menu on their home page here. Full screen recommended.
The Cotswolds are looking particularly beautiful at present - the landscape seems ever so slightly blurred at the edges, as if seen through a misted glass. We are also enjoying a spot of 'Indian Summer', so collecting eggs is even more enjoyable than usual.
Marjorie and I don't often venture out of this side of the village as it leads up a very long and steep hill, which we find ourselves obliged to puff and push up. However, there is an excellent source of eggs nearby, from the Barrington Farm Estate. If you are driving to or from Burford along the A429, you are literally seconds away from it and I do recommend trying them out. (They sell double yolkers too).
The metal 'egg box' is a little austere, but it's more jolly inside. Self service here and an honesty tin.
We always buy the seconds. They are an absolute bargain; two dozen lovely free range organic eggs for £3.20 - who minds if they are a bit wonky and mismatched? (Feathers are free).
Returning home is easier. Downhill all the way and glorious views of our patch.
Then an industrious afternoon trying some new lino blocks.
Rather familiar looking little landscapes - no prizes for guessing where I get my inspiration from.
I'm still very much at the 'remembering how you do this thing' stage and there were many rejects. But I did get a handful of saleable ones - House on the Hill and Autumn Fields. Each is under a fiver - and you can't get two pints of beer for that nowadays. Not down here, anyway. 
I also pulled more hare prints but the block is becoming a bit over used, so out of many printed, I only have two more to offer - and huge thanks to everyone who bought the last batch - you cleaned me out in three days! (EDIT - Hare prints now sold out - thank you!)
Happymess/happiness.
It's that time of year when I deliver my contribution to the yearly Teddy Bears of Witney catalogue.
Only one edition this year, and a bit different to my usual style. I thought it would be nice to have a basic kitten design and call them after sweets, depending on what colours they were.
So this is 'Sherbert Lemon', always my favourite sweet. The design seemed faintly familiar and at first I was worried that I'd inadvertently plagarised the ubiquitous 'Hello Kitty'. (Which of course, I would never do, having quite strict morals about that kind of thing).
Then I traced it back to a toy painting I did back in 2006, 'Koko With Checks' thinking at the time what fun it would be to actually make this in real life. 
A little later I used the basic shape again for a Christmas card, 'Angel Cat'.
And then I dug deeper, linking all this to some little Japanese dolls which I picked up for pennies when I was about 16-17. I'm so used to them that I'd almost forgotten about them, but they've obviously lurked in my creative subconscious.
I didn't know until a few days ago that they are Kokeshi dolls and are MASSIVE! Not in size, but in popularity and collectiblility. One is quite old and has a single baby doll inside her. She is my favourite. Or maybe he? 
The other two also vintage, but more recent and have two nesting dolls inside. None of them are signed and I'm certain that they are simply mass market items, not the really valuable artist kokeshi.
My own 'Kokeshi Kittens' also have heavy, wobbling, heads and are a devil to stand upright. But they do, with a little care. Just.
I have been trying to organise my working days so that I don't spend it needle felting all day, every day. Love it though I do, I have many other things I want to produce. So I have been trying to take at least one day off per week to do something else. Time to unearth the old proof press, which has become swamped by books and magazines.
Time to find the little lino block of a hare I cut sometime in the winter and the block inks which I bought a few years ago and have barely used. Still in perfect condition.
A patchy first pull, but remembering that it takes a few inkings for the block to saturate with ink I do some more on test paper. The quality improves.
And with a bit of sweat and swearing, progress is made. Nice thick paper which has been saved for such an occasion is finally utilised. The eagle eyed long-term readers of this blog may spot the fabric hanging on the other side of the beam - yes, it is still there, my fabric stamping efforts from - goodness me, March! What happened to the time?
Some of the prints even come out moderately well. (Considering it's been a very long time indeed since I last did this).
At the end of the afternoon, everything is mopped down and replaced. It is as if the flying print-room had never existed. Except of course, for the long washing line of drying hares.
Later, a few of the best ones are popped into my Etsy shop, at pocket money prices. Just to see if it's worth carrying on with.
