가장 멋진 명소 20곳

A worthy addition to the National Trust. Wonderful house, set in Capability Brown's first landscape park.

The old bridge is picturesque, and its also a great place to while away an hour or two by the river.

The folly itself actually looks like it really is an industrial tower housing mobile phone equipment, but the views are very good. Nearby is the Elephant Stone - it looks like an Elephant kneeing down. Not far from the Cotswold Stone drystone wall is the circular stone that marks the very top of Bredon Hill.

Good parking, half a dozen spaces on Woollas Hill, near Deer Park centre. Views on way up to Folly are spectacular. Good to get the climb out the way early with gentle, long descent in to Broadway.

Great church on the descent in Pershore direction. Beautiful mosaics inside

Roundabout (creepy)

St Mary's Church is a delightful little church full of character and historic interest, set in the picturesque Worcestershire village of Elmley Castle.

Park free at the bridge. Make sure you walk to Wick and back. Footpath starts at the old bridge, then across field to the village.

Croome Court is a mid-18th-century Neo-Palladian mansion surrounded by extensive landscaped parkland at Croome D'Abitot, near Upton-upon-Severn in south Worcestershire, England. The mansion and park were designed by Lancelot "Capability" Brown for the 6th Earl of Coventry, and they were Brown's first landscape design and first major architectural project. Some of the mansion's rooms were designed by Robert Adam. St Mary Magdalene's Church, Croome D'Abitot that sits within the grounds of the park is now owned and cared for by the Churches Conservation Trust. The mansion house is owned by Croome Heritage Trust and leased to the National Trust, which operates it as a tourist attraction. The National Trust owns the surrounding parkland, which is also open to the public. The foundations and core of Croome Court, including the central chimney stack structure, date back to the early 1640s. Substantial changes to this early house were made by Gilbert Coventry, 4th Earl of Coventry. George Coventry, the 6th Earl, inherited the estate in 1751, along with the existing Jacobean house. He commissioned Lancelot "Capability" Brown, with the assistance of Sanderson Miller, to redesign the house and estate. It was Brown's "first flight into the realms of architecture" and a "rare example of his architectural work", and it is an important and seminal work. It was built between 1751 and 1752, and it and Hagley Hall are considered to be the finest examples of Neo-Palladian architecture in Worcestershire. Notable Neo-Palladian features incorporated into Croome Court include the plain exterior and the corner towers with pyramidal roofs (a feature first used by Inigo Jones in the design of Wilton House in Wiltshire). Robert Adam worked on the interior of the building from 1760 onwards. The house was visited by George III, as well as by Queen Victoria during summers when she was a child, and George V (when Duke of York). A jam factory was built near Pershore railway station by the 9th Earl of Coventry in about 1880, to provide a market for Vale of Evesham fruit growers in times of surplus. Although the Croome connection with jam-making had ceased, the building was leased by the Croome Estate Trust during the First World War to the Huddersfield Fruit Preserving Company as a pulping station. The First World War deeply affected Croome; there were many local casualties, although the house was not requisitioned for the war effort. This is possibly because it was the home of the Lord Lieutenant of the county, who needed a residence for his many official engagements. Croome Court was requisitioned during the Second World War by the Ministry of Works, and leased for a year to the Dutch Government as a possible refuge for Queen Wilhelmina of the Netherlands to escape the Nazi occupation of the Netherlands. However, evidence shows that they stayed for two weeks at the most, perhaps because of the noise and fear created by the proximity of Defford Aerodrome. They later emigrated to Canada. The Croome Estate Trust sold the Court in 1948, along with 38 acres (15 ha) of land, to the Roman Catholic Archdiocese of Birmingham, and the mansion became St Joseph's Special School, which was run by nuns from 1950 until 1979. In 1979, the hall was taken over by the International Society for Krishna Consciousness (ISKCON, the Hare Krishna movement) which used it as its UK headquarters and a training college, called Chaitanya College. During their tenure they repainted the Dining Room. ISKCON left the estate in 1984 for financial reasons. It held a festival at the hall in 2011. From 1984 onwards, various owners tried to use the property as a training centre; apartments; a restaurant and conference centre; and a hotel and golf course, before once more becoming a private family home, with outbuildings converted to private houses. The house was purchased by the Croome Heritage Trust, a registered charity, in October 2007, and it is now managed by the National Trust as a tourist attraction. It opened to the public in September 2009, at which point six of the rooms had been restored, costing £400,000, including the Saloon. It was estimated that another £4 million to £4.8 million would be needed to restore the entire building. Fundraising activities for the restoration included a 2011 raffle for a Morgan sports car organised by Lord and Lady Flight. After the restoration is complete, a 999-year lease on the building will be granted to the National Trust. An oral history project to record recollections about Croome was funded by the Heritage Lottery Fund. As of 2009, the service wing was empty and in need of substantial repair. The house was listed on 11 August 1952; it is currently Grade I listed. The mansion is faced with Bath stone, limestone ashlar, and has both north and south facing fronts. It has a basement and two stories, with three stories in the end pavilions. A slate roof, with pyramid roofs over the corner towers, tops the building, along with three pair-linked chimneys along the axis of the house. Both fronts have 11 bays, split into three central sets of three each, and one additional bay each side. The north face has a pedimented centre, with two balustraded staircases leading to a Roman Doric doorcase. The south face has a projecting Ionic tetrastyle portico and Venetian windows. It has a broad staircase, with Coade stone sphinxes on each side, leading to a south door topped with a cornice on consoles. The wings have modillion cornice and balustrade. A two-story L-shaped service wing is attached to the east side of the mansion. It is made of red brick and stone, with slate roofs. It was designed by Capability Brown in 1751–1752. On the far side of the service wing, a wall connects it to a stable court. The interior of the house was designed partially by Capability Brown, with plasterwork by G. Vassalli, and partially by Robert Adam, with plasterwork by Joseph Rose, Jr. It has a central spine corridor. A stone staircase, with iron balusters, is at the east end. The entrance hall is on the north side of the building, and has four fluted Doric columns, along with moulded doorcases. To the east of the entrance hall is the dining room, which has a plaster ceiling and cornice, while to the west is a billiard room, featuring fielded panelling, a plaster cornice, and a rococo fireplace. The three rooms were probably decorated around 1758–1759 by Capability Brown. The dining room was vibrantly repainted by the Hare Krishnas in the 1970s-80s. The central room on the south side is a saloon, probably by Brown and Vassalli. It has an elaborate ceiling, with three panels, deep coving, and a cornice, along with two Ionic fireplaces, and Palladian doorcases. King George III was entertained by George Coventry, the 6th Earl, in the house's Saloon. A drawing room is to the west of the saloon, and features rococo plasterwork and a marble fireplace. To the east of the saloon is the Tapestry Room. This was designed in 1763–1771, based on a design by Robert Adam, and contained tapestries and furniture covers possibly designed by François Boucher and Maurice Jacques, and made by Manufacture Nationale des Gobelins. Around 1902 the ninth Earl sold the tapestries and seating to a Parisian dealer. The Samuel H. Kress Foundation purchased the ceiling, floor, mantlepiece, chair rails, doors and door surrounds in 1949; they were donated to the Metropolitan Museum of Art, New York, in 1958. In 1959, the Kress Foundation also helped the Metropolitan Museum acquire the chair and sofa frames, which they recovered using the original tapestry seats. A copy of the ceiling was installed in place of the original. As of 2016, the room is displayed as it would have looked after the tapestries had been sold, with a jug and ewer on display as the only original decoration of the room that remains in it. The adjacent library room is used to explain what happened to the tapestry room; the former library was designed by Adam, and was dismantled except for the marble fireplace. At the west side of the building is a Long Gallery[10] which was designed by Robert Adam and installed between 1761 and 1766. It is the best preserved of the original interior (little of the rest has survived in situ). It has an octagonal panelled ceiling, and plaster reliefs of griffins. A half-hexagonal bay faces the garden. The room also contains a marble caryatid fireplace designed by J Wilton. As of 2016, modern sculptures are displayed in empty niches along the Long Gallery.

Kemerton Camp is a hillfort on the top of Bredon Hill in Worcestershire. With a steep escarpment dropping away on the north side of the Hill, it has two sets of ramparts and ditches to the south. The inner ramparts possibly date to 300BC. Excavations at Kemerton Camp in the 1930s uncovered, near the entrance to the inner ramparts of the fort, the burial place of some 50 slaughtered men, along with a great number of weapons. Are they evidence of a last stand against the Roman invasion, or of some internecine strife between warring tribes ? Adjacent to Kemerton Camp is a small stone tower called Parsons Folly (or the Banbury Stone Tower) which was built in the mid-18th century for John Parsons, MP (1732–1805), squire of Kemerton Court and intended as a summer house.

Parsons' Folly was built as a folly in the 18th century by Mr Parsons of Kemerton, it is 39 feet high, the summit of Bredon Hill is 961 feet above sea level thus making the top of the folly exactly 1,000 feet above sea level. Spread below is the vale through which both the Avon and Severn, on the horizon are the Malvern Hills.

The church of ST. MARY consists of a chancel 25 ft. by 16 ft., nave 57 ft. by 19½ ft., north transept 20 ft. deep by 16½ ft. wide, north aisle to the west of it, 9 ft. 10 in. wide, and south aisle 10 ft. wide, a north porch, and a western tower 18½ ft. wide by 14 ft. deep; all the measurements are internal. The church dates from a very early period, the walling of the chancel, which was shorter than the present one, belonging to about the end of the 11th century. The plan at that time consisted simply of nave and chancel, and doubtless much of the original stonework remains in the present nave, though many of the carved stones belong to 12th-century alterations. The first addition of which there is any definite evidence took place early in the 13th century, when the unusually wide tower was erected at the west end of the nave, which may have been lengthened at the same time. About 1340 the church was considerably enlarged, the north transept and the south aisle being added. The chancel also was lengthened by some 5 ft., evidently to form a narrow vestry behind the high altar. The north aisle was an addition of the latter part of the 15th century, the earlier transept arch being retained as the easternmost bay of the arcade and a cross arch constructed in place of the west transept wall. At the same time a new column was substituted for the first pier in the south arcade and the top stage was added to the tower, a new west door and window being inserted. In the early part of the 16th century the transept was heightened and new windows inserted to form a chapel for the Savage family, the alterations amounting practically to a rebuilding. The north porch underwent considerable repair in the first half of the next century, and it is not improbable that the western half of the south aisle was rebuilt in 1629, the date inscribed upon a stone between the two westernmost windows in the south wall. To the same date belongs also the embattled parapet of the north aisle. Prattinton, who wrote in 1817, mentions a semicircular end to the chancel; it was probably an 18th-century addition and has now been removed. The chancel was restored in 1863, when the east wall was rebuilt, a new roof put up, and new tracery inserted in the side windows. The round chancel arch, which is said to have been of wood, was rebuilt at the same time. The chancel also underwent a general restoration in 1878, when the nave and aisles were re-roofed. The modern east window, put up by Lieut.-General Davies to the memory of his parents and brothers, is of three lights with a traceried head; a 14th-century doorway opening into the former vestry behind the altar is now walled up, and traces remain of a corresponding door in the south wall. The first of the two windows on the north is of two lights under a traceried two-centred head; the second also has two lights with a quatrefoil over; the tracery and mullions of both are modern, but the jambs are old, those of the easternmost dating probably from the early 15th century, while those of the western window appear to be of the 14th century. The two windows on the south side correspond in all respects with those opposite. Between these windows and visible on both sides of the wall is the herring-bone work of the late 11th century, and at the west end of the south wall is a short length of plinth course. The chancel arch is modern and springs from corbels. In the east wall of the nave flanking it are niches for figures; the one to the south is complete with its square head, but of the other only the lower parts of the jambs remain. The nave arcades each consist of four bays. The first bay on the north side has a square jamb on the east with a 14th-century pointed arch of two chamfered orders dying on it. The rest of the arcade is of late 15th-century date and has octagonal columns with simple capitals and bases and pointed arches of two chamfered orders. The arches on the south side are similar to the first bay on the north, but the first column is octagonal and similar in detail to the later work opposite. The second and third piers and the western respond are square, the arches dying on them, and the east respond is dispensed with. The rood stair formerly existing in the angle of the north transept and the nave has been removed, but the blocked doorways remain. The east and north windows of the transept are both 16th-century insertions, though not quite contemporary. The former, which was of five lights, is now blocked by the large tomb of the first Earl of Coventry (fn. 130); the north window has three lights with sunk spandrels under a flat head. The transept has an embattled parapet both to its side walls and to the low north gable. In the aisle wall west of the transept is a raking stone showing the position of the former steep gabled roof. The cross arch towards the aisle, which stands somewhat east of the line of the transept wall, belongs to the 15th-century work and springs from the first column of the arcade. The two north windows and the west window of the north aisle are all original and have three lights with feathered tracery in a square head. The entrance doorway between the two north windows has a two-centred drop arch, and is evidently a 14th-century doorway removed here from the former nave wall. The porch has in its west wall a diminutive and almost shapeless light. The outer doorway has continuous mouldings and a semicircular head with a moulded label. Set in the side walls are many 11th and 12th-century stones carved with various beasts, foliage, and diapering. The porch is strengthened by diagonal buttresses, and its parapets, with those of the aisle, are embattled with continuous copings; above the porch doorway is a small trefoiled niche. Set in the aisle wall below the string are two gargoyles with grotesque human and animal figures. The east window of the south aisle is a 15th-century insertion of three lights under a pointed traceried head. To the north of it outside is a shallow buttress, above which can be seen the quoined angle of the original nave. In the south wall of the aisle is a small ogee-headed piscina of 14th-century date the bowl of which has been cut away. The first window on the south is a later insertion with three lights under a square traceried head. The second window appears to be contemporary with the aisle and has two narrow lights with a quatrefoil above them, the jambs being of two chamfered orders. The third window is modern, and the fourth, of two lights under a pointed head, appears to be an insertion of the 16th or 17th century. Between the last two windows is a stone inscribed 1629 F.F. The tower is of three stages with a pointed tower arch of two chamfered orders springing from moulded abaci. The respond of the inner order is corbelled back to the face of the jambs a little below the level of the abacus. It is evidently part of the original early 13th-century tower, as is also the small lancet window in the south wall. The west doorway and window above it are 15th-century insertions. The doorway has a two-centred drop arch with a moulded label, and the jambs are of two orders. In the north and south walls of the second stage are large 13th-century lancet windows now filled in. The third stage or bell-chamber is lighted by transomed windows of two lights in each wall, with a quatrefoil above them in a pointed head. The parapet is embattled and has grotesque gargoyles at the angles. The walling of the lower part of the tower is of small rubble with wide jointing, and the third stage is ashlar faced. The walling of the church generally is of rubble, varying in the different parts of the building. Besides the herring-bone work in the chancel wall the other parts of the earlier work are of uncoursed rubble. In the east gable of the nave are several ancient carved or worked stones. The parapets generally are of ashlar. The roofs are all gabled and modern. The font has a 13th-century square base carved with four dragons around a circular stem. The bowl dates from about 1500, and is octagonal, with plain panels inclosing shields carved with the Five Wounds, the rose, feathers, a portcullis, a trefoiled leaf with a bar on the stem, an indented fesse, and a ragged staff. In the pewing of the south aisle are four turned legs, which probably belonged to the 1637 communion table mentioned in the churchwardens' accounts. There are also four standards for misericordes. A large number of 16th-century pews with moulded rails remain in use. An old stone bowl now in the transept was brought from a farm at Kersoe. In the north window of the transept are two pieces of old glass; one is a panel inclosing the arms of Westminster, and over it is a crowned rose, party palewise red and white, a royal badge of the Tudors. In the south-east window of the south aisle are a few other old fragments, including a crowned red rose and the quartered lilies and leopards of France and England. In the transept are two large monuments. The first is an alabaster altar tomb, with a black marble slab on which rest the three recumbent effigies of William Savage, Giles Savage, who died in 1631, and his wife Catherine. The latter holds the figure of a posthumous daughter. At their feet are the kneeling figures of their four other children. On mural slabs above the tomb are placed the inscriptions, arms, &c. The second large monument, against the east wall, is to the first Earl of Coventry, who died in 1699; it is of Renaissance design, and has a white marble effigy of the earl reclining on his elbow under a canopy of the same material, supported on Ionic columns flanked by large allegorical female figures. In the cleft pediment are the Coventry arms and crest with allegorical figures at the sides. The monument, which was refused admittance to Croome D'Abitôt Church by the second earl, was erected by the countess dowager, who in 1700 married Thomas Savage of Elmley Castle. On the south wall of the chancel is a mural monument to Anne daughter of Sir Richard Fetyplace, 1609; and another, opposite, to E. G. died 1668, has Corinthian capitals and a broken pediment, but has lost its columns. An undated slab in the floor commemorates William Ganderton. In the north aisle below the second window is a tablet to Elizabeth wife of Thomas Harper, vicar of Elmley, who died in 1609. Part of a 14th-century coffin slab with a cusped cross stands in the north transept. Mention may be made here of the curious sundial which stands in the churchyard; it is a square pillar, on the south face of which is the dial above a carving of the Savage arms in a shield of ten quarters as they appear on the tomb in the north transept. The bells are six in number: the first a treble of 1700; the second cast by Henry Farmer, 1619; the third with the inscription 'Eternis annis,' &c. (upon this bell are the heads of a king and queen) (fn. 131); the fourth by Matthew Bagley, 1686; the fifth an old bell, said to have been of 1556, recast in 1886; and the sixth a tenor bell of 1620.

The church of ST. PETER consists of a chancel 30¾ ft. by 16 ft. with north and south chapels, nave 38 ft. by 16 ft. with north porch and south chapel, and west tower 14¼ ft. by 12½ ft. All measurements are internal. The 12th-century church appears to have consisted of a nave and chancel of the same size as the existing ones, and of these the north nave wall and the base of the south chancel wall are still standing. A window was inserted in the north nave wall in the 14th century and the west tower built. Early in the following century the chancel was largely rebuilt. The north porch was added in 1639. The church has been drastically restored and the side chapels are modern additions. The east wall is of ashlar with two-stage diagonal buttresses and an old gable cross. The early 15thcentury east window is of three lights with a pointed traceried head. In the north wall is a square-headed window of three trefoiled lights. The external hood has the letter S in the centre of the head and voluted stops bearing the letters T and P. Further west are two modern arches to the north chapel. In the south wall is a three-light early 15th-century window similar to that on the north, and west of it is a modern arch opening to the south chapel or transept. In the same wall is a trefoil-headed piscina with the bowl cut away; the wall itself is partly of 12thcentury rubble masonry. The timber chancel arch is modern, as is the north chapel; built into the east wall is a two-light early 15th-century window with a quatrefoil in the head and in the north wall is a later square-headed window, both being formerly in the chancel wall. The south chapel is entirely modern with a three-light south window. The chancel roof retains a few old timbers. The nave has five windows in the north wall, three of them being early 12th-century single-light openings but much restored. The easternmost window is square-headed and of late date, and the third window is of two lights, pointed and of the 14th century. The jambs of both cut into the early 12th-century opening between them. The westernmost 12th-century window has an external cable moulding round the head. The north door is of similar date with a semicircular tympanum externally, ornamented with a plain cross and four whorls on each side. The rear arch is plain and round. At the east end of the south wall are two modern arches opening into the south chapel and west of them three modern windows, the last two being of two lights and coupled together; the rear arches, however, spring from ancient jambs. The south chapel has a modern arch on the east opening into the chancel chapel, and in the south wall are two two-light windows, of which the eastern is largely ancient and the western mainly modern. The masonry of the north nave wall is 12th-century rubble, but the south wall, though much restored, appears to be later. The west tower opens into the nave by a depressed four-centred arch with moulded capitals and bases to the responds; in the west wall is a three-light 14thcentury window with restored tracery and a pointed head, the external hood has large 'ball-flower' stops. The tower is four stages high, divided by stringcourses and faced with ashlar; it has diagonal buttresses at the angles, a moulded plinth and embattled parapet. The latter has crocketed pinnacles at the angles and gargoyles at the angles of the parapet string. The bell-chamber is lighted by a 14th-century threelight window in each face with external labels and head-stops. The north porch has stone side walls with benches and a timber front and gable with a segmental-headed outer door; on the face is inscribed 'A [inverted capital L], EP 1639.' The font has a circular stem and a plain octagonal bowl with a modern cross cut in one face. The other fittings are modern and include a carved oak reredos. In the coupled windows on the south of the nave and in the south-east window of the south chapel are some fragments of ancient glass. In the chancel are a number of old tiles, mostly with conventional designs, but some bearing the arms of the Confessor, of the Berkeleys and the Hungerfords. There are six bells: the tenor, fourth and treble cast by J. Taylor, 1866; the fifth inscribed, 'Richard Neale, Thomas Young Ch-wardens 1750'; the third, 'Abel Rudhall cast us all 1750'; and the second 'Prosperity to this parish A.R. 1750.'

Historic Bredon Hill stands proud in isolation. From its 981-foot (299 m) summit you can gaze out across Worcestershire to the Malverns and south into the rolling Cotswolds. Scenic magnificence. The hill was once an Iron Age hillfort, known as Kemerton Camp and it then became an important Roman encampment. In the 18th century, the squire of Kemerton Court erected a small stone tower, Parsons Folly. A number of ancient standing stones also adorn the hill.

This was a key crossing point for traders between London and Worcester. Originally built in the 1400s, various repairs have taken place over the centuries to create the grand structure we see today. There is a popular picnic spot nearby, from which the Pershore Bridges Circular Walk begins. See : https://www.komoot.com/guide/712082 for more inspiration.

A 12th century church. The church was first mentioned in 1283 when the advowson belonged to William Fitz Warin.

Great views including Malvern. I would imagine Malvern could be great at sunset.

In 1290 Sir Nicholas de Mitton left 12d(5p). for the repair of this bridge. By 1322 it was again falling down and stayed like that until 1346. No agreement could be reached on who was to pay for repairs- the people of Pershore or the Abbot of Westminster who owned the adjacent land , but after five years of legal wrangling it was decided in 1351 that the repairs to the bridge should be shared between the abbot and the town. In 1388 it was again in ruins and when Pershore Abbey was destroyed some of the materials were used for repairing it. By 1607 it was again in need of repairs but on 5 June 1644 Pershore Bridge was destroyed by King Charles I army on the way to Worcester to delay the Roundheads from following. Forty men were drowned owing to the haste with which the destruction was completed. The present bridge is a structure of various dates due to its many collapses and rebuilds. The fourth arch is wider than the rest and is the one broken down by Charles I, was repaired in stone, locally said to have been taken from the ruins of Elmley Castle. The Dean and Chapter of Westminster now repair Pershore Bridge, paying the county council for doing the work.