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The Festival itself is a huge attraction for Slow Travellers, but so too is the stunning Wiltshire valley It has the smallest church in Wiltshire and reputedly the second smallest in England. In the mid 17th century repairs had to be undertaken - John Aubrey in his Natural History of Wiltshire

Wiltshire is renowned for its historic white horses and chalk badges carved high into the hillsides. A Brief History of the Map of Australia The county of Wiltshire in southern England is on a seam of chalk hill, and the leader of the Australian army contingent gave a moving speech, thanking the people of Wiltshire gratitude for all of the work she has done to preserve this important piece of Australian heritage in the Wiltshire

Grovely Woods is the largest area of woodland in Wiltshire stretching from Wilton to Wylye. Report from the Western Gazette, 12th December 1947 - American Bomb Dump Explosion Two Men Killed at Wiltshire The Wiltshire Coroner, Mr.

prehistoric monuments which form part of the Stonehenge and Avebury World Heritage site: a large area of Wiltshire

To find more Historic Churches in Wiltshire, get directions for 11 church walking trails, or find out about guided tours of the churches, try the Wiltshire Historic Church Trust website >>

One of the most fascinating late Medieval buildings in Salisbury is the house of John Halle, a wealthy local wool merchant. Built in the 1470s and now in use as an Odeon cinema, this building is a truly unique blend of old and new. Visitors can take behind the scenes tours to explore this huge building and learn more about its Medieval origins, its heyday hosting stars of the 20th century and its current incumbency as modern multi-screen cinema. Salisbury is well known as a Medieval market town, its origins starting with the construction of both Cathedral and town in 1220 when it moved from Old Sarum . By the 1450s the town had a population of 7,000 and half of the population was engaged in the wool trade. Resident John Halle was a wool merchant and a prominent and wealthy character in the area. In 1446 he was a member of the local council, by 1448 he had become Alderman and by 1449 he was Constable of New Street Ward. In 1451 he was elected Mayor of Salisbury, an honour repeated a further three times. He was first elected Member of Parliament for Salisbury in 1453, an appointment which was also repeated a further three times. He built his house around 1470, although he died in 1479 and it was completed by his son, William Halle, some years later. He was clearly an irascible character. In 1465 when he was Mayor, he fell into a land dispute with the Bishop of Salisbury, Richard de Beauchamp and another local merchant, William Swayne. The land was in St Thomas ’s churchyard, where William Swayne wished to build a new chapel attached to the church. John Halle took forcible possession of the land and was swiftly prosecuted by the Bishop and summoned to appear before the King (Edward IV) and his Privy Council. John was apparently so truculent and difficult that the King had him committed to the Tower of London , for ‘shewing himself of a right cedicious, hasty, willful and full unwitty disposicon’. What is now called The Lady Chapel in St. Thomas’s church has an inscription asking observers to pray for the soul of William Swayne and his wife, as well as being decorated with his Swayne’s merchant's mark, so it is safe to assume that John lost his battle for the land in the end and William was able to build his chapel. The Corporation of Salisbury was instructed to appoint a new Mayor, which they refused to do, and John was in fact appointed Mayor for the fourth time while he was still in the Tower. This is probably due more to the locals dislike of the Bishop than their affection for John, they just wanted someone who would stand up to the unpopular Bishop. The ceiling of John Halle’s banqueting hall has a detailed pattern of oak beams John was released and returned to Salisbury. By 1470 he had responded to a call from the Earl of Warwick to raise an army of 40 men to help depose King Edward IV, apparently his spell in the Tower hadn’t endeared the King to John, but when Warwick was defeated and killed in battle, he swiftly returned his allegiance to the King, which was probably a sensible thing to do. Nothing more is known about John until his death in 1479. His son, William Halle, inherited his rebellious streak and took part in Buckingham’s Rebellion in 1483, an unsuccessful uprising against Richard III. The banqueting hall still has many Medieval features - here it is decorated for the premiere of No Time to Die What we do have left from him is the banqueting hall of his house, an incredible, two storey stone structure. Now the foyer of the cinema, a mock Tudor front designed by Pugin was added to the building in 1881, so you need to enter the building to see the original, Grade I listed, Medieval hall. With dark oak beams across the vaulted ceiling, a stone flagged floor, stained glass windows and a huge stone Medieval fireplace, this is not your usual cinema foyer. Huge wrought iron chandeliers hang from the ceiling, and shields and spears decorate the walls. A minstrel's gallery overlooks the area, reachable only by a wooden ladder, so sadly out of bounds for the general public. The external wall to the hall gives a glimpse of how this incredible building must have looked years ago. It is not normally accessible to the public The large stone fireplace is entirely authentic, although not in its original location, as there is no chimney flume behind it. The stained glass windows are a mixture of original and replacement, and bear John Halle’s Merchant Mark as well as an image of the man himself. A huge, thick original wooden door is in the East wall, and leads out to a small courtyard area, where you can see the exterior wall of the hall, and how it has been built upon over the centuries. The rest of the tour leads out of the Medieval hall and into the rest of the cinema, itself a Grade II listed building. The Gaumont Palace Theatre in its heyday The Gaumont Palace Theatre opened here in September 1931, showing ‘Chance of a Night Time’. The main auditorium had been built earlier that year, with seating for 1125 in the stalls and 500 in the circle. It was resplendent in full mock Tudor style, designed by William Edward Trent, who had been asked to make it different to any other Gaumont Theatre. The beams are made of fibre glass and painted a deep brown and the walls were made to look like ashler stonework, the same as Salisbury Cathedral. Over 40 tapestries with images of medieval hunting scenes were designed by interior designer Frank Barnes and hung on the walls, and more wrought iron chandeliers were hung from the ceilings. A mock Tudor restaurant with wood panelling, oak tables and chairs and inglenook fireplaces served meals to guests, back in the days when a trip to the cinema meant more than just a bucket of popcorn. How the main screen looks now, with large comfortable seating. The tapestries around the walls are nicotine stained thanks to the years of smoking being permitted in theatres and cinemas. The cinema was renamed ‘The Gaumont’ in 1936, and then the Odeon in 1964. It was host to stars such as The Beatles, The Rolling Stones, Buddy Holly and The Bee Gees amongst others. It was converted to have three screens in 1972, putting smaller screens in the stalls under the circle of Screen 1. The cinema was threatened with closure in 1986, but a huge local campaign managed to save it and there was a grand refurbishment, with everything restored to its former glory using the original paints and plasterwork. A fourth screen was added in 1993 in what had been the restaurant, and a fifth in 1995. The cinema now is a veritable rabbit warren, with often quite a walk round wonky corridors to reach the screens. What you learn from a behind the scenes tour however, is how much of the building you don’t normally get to see when just coming to watch a film. The place is a veritable Tardis. The original entrance to the cinema is now no longer in use, a large passageway with a tiny wooden box office in the wall, where some poor soul would have to sit in cramped conditions to sell tickets. There are dark underground passageways with paint peeling off the walls with small, windowless rooms leading off. Once the dressing rooms to the stars, they are now home only to a few brooms, unwanted junk and probably plenty of insects. L: This was the original box office for guests, in the Catherine Street entrance which is no longer in use at all. The box is a tiny space and must have been very cramped for the staff working in there. R: Narrow and dark passageways which once led onto the dressing rooms of the stars. The tour gives you a look behind the curtains of some of the screens, where you can see the concrete, steel, ladders and huge air conditioning piping that tunnels around behind the glossy veneer of the public areas. Upstairs there are workshops and old offices, all mostly unused and filled with cobwebs and apparently, a ghost called Jeffrey; one of three who lives in the building. A tour group visit the projection room of Screen One. The huge reel projector is still there but no longer in use The projection room of Screen One is really interesting with a huge old-fashioned reel projector – so big that it can’t be removed from the building. The modern system of digital projectors with all its flashing lights was a lot more hi-tech but far less intriguing. L: This deserted corridor was once the main entrance for the hoi polloi. R: Top tier ticket holders used to enter through the fire doors on the left, which led past the grand external wall of the Medieval hall. The tour is fascinating and one I highly recommend, not just to learn about the Medieval hall but to learn about the early days of cinema from their glory days to the manufactured and slightly soulless experience they are now. Even if you don’t manage to take a tour, watch a film there and enjoy the unique experience of watching a great film surrounded by Medieval history. VISITING THE SALISBURY ODEON Behind the Scenes Tours take place once a month - contact Naomi on   odeon.salisbury@odeonuk.com  for details and to book a place on a tour. There is a donation of £5 per person paid on the day in cash and all money raised goes to Odeon's chosen charity which is Mind. Alternatively, watch a film there! You won’t see behind the scenes but you will still get to see the Pugin entrance, the Medieval foyer, the mock Tudor decorations in the screening rooms and you may get to exit through the original entrance and past the wooden box office.

Salisbury may have more than its fair share of chain restaurants and fast food places, but fortunately it has some fantastic locally-owned restaurants which will give you a lot of choice of cuisines and price brackets. Restaurants/Gastro Pubs Lalahan is my favourite restaurant in Salisbury. Locally owned serving authentic Turkish food, there is a good range of dishes which are always excellently cooked, with vegetarian options as well as the traditional meat dishes you would expect. The fun interior has a ceiling of clouds and Turkish landmarks around the walls, but it is the large garden which makes it so special, with covered seating and plenty of flowers and bamboo interspersed with colourful Turkish lamps. They also do takeaway and delivery. Website >> The Haunch of Venison is a medieval pub right in the centre of Salisbury. Filled with oak beans, uneven flooring, a ghost and 700 years of history, there is a bar downstairs and restaurant upstairs. Food is based on traditional English pub fare with an upmarket twist, and include meals such as wild venison steak, beetroot risotto and fish of the day. Find out more >> The Pheasant Inn is in the centre of Salisbury in Salt Lane. A medieval building with a beer garden, this pub has a small menu of British classics, as well as several vegan options. With a separate lunch and Sunday menu, this is a great place to eat for good quality, straightforward food. Website >> Tinga is an immersive Mexican dining experience, locally owned and centrally located. The décor is amazing; so vibrant and atmospheric and you don't know what to look at first. The extensive menu is equally as good, with plenty of vegan and vegetarian options and degrees of chili heat. Tinga is very popular with locals so book ahead. Website >> Baroushka is a locally owned Middle Eastern restaurant with an excellent menu and delicious food. They serve sharing platters, including vegan ones, as well as meze dishes, tagines and salads. The restaurant is near the train station, and they also do home delivery and takeaways. They run a loyalty scheme for regular customers. The food is excellent and highly recommended. Website >> Grillado is an Italian restaurant on Castle Street in the centre of town. It has an A La Carte menu but also offers takeaway, including pizzas. The food is authentically Italian and the owners pride themselves on using the best quality sourced ingredients. Dishes include options such as lamb, pork and fish dishes, as well as vegetarian options. Website >> Anokaa is very popular with the locals. It provides a modern take on Indian and Persian cuisine, in a restaurant of colour changing lights and water features. The food is excellent and varied, with dishes such as green spiced lobster thermidor or organic vegetable melange. They also do a takeaway service, which you can order online. Website >> Thai Sarocha is centrally located in New Street, where it has been since 2008. Adapting Thai food for western taste, there is a wide variety of dishes on offer such as Jungle Curry, stir frys, fish and noodle dishes. There are also set menus on offer, as well as a takeaway service which can be booked online. Website >> Cafes for light lunches, snacks and afternoon tea Salisbury Museum has a lovely little café directly opposite the cathedral. They serve coffee, cakes, daily specials and cream teas and are open every lunchtime. You do not need to pay to enter the museum to use the café. There is outdoor seating in the beautiful garden which has cathedral views. Website >> Charlie's Café is a relatively new, but very welcome, addition to Catherine Street. Light and airy, it serves the basics you want from a café with all day breakfasts, lunch essentials, smoothies and cakes. Service is really quick and friendly - you pay up front so there is no hanging around waiting for the bill either. The food is generous and tasty, you can't go wrong eating here. Takeaways in Salisbury Popeyes provides a variety of kebabs, pizzas, burgers, pizzas and jacket potatoes. You can order online or over the phone and get delivery or collect from their shop in Estcourt Road. Website >> Manis provides kebabs, wraps, burgers, chicken, jacket potatoes and meal deals which can be delivered or collected from their shop in Catherine Street. Website >> Britz Fish & Chips on Wilton Road has an eat in diner, click and collect as well as a delivery service. They also serve burgers, chicken, jacket potatoes as well as traditional British breakfasts. Website >> Visiting Salisbury? Our Salisbury City Guide has lots of information on locally owned places to stay and shop, places to visit and day trips.

Salisbury Cathedral has an annual sound and light show, with both the inside and outside being used to create an immersive ‘Son et Lumiere’ experience, which fills the ancient medieval walls with sounds, lights and imagery. Created by Luxmuralis, a company which specialises in large scale installation artworks, it is a spectacular show which provides a whole new way of looking at the cathedral and usually takes place in the winter months. Sarum Lights first debuted at Salisbury Cathedral in 2020, its walls filled with lights and music commissioned to celebrate 800 years since its founding. Visitors shuffled through in silent amazement, seeing the history of their city projected onto the medieval walls both inside and out, immersed in lights, colours and sound. The event proved to be a huge success and swiftly sold out. A new annual event was born. 2021 saw Sarum Lights II: Heaven and Earth , and in 2022 the theme was Renaissance , that time in history which marks the transition between medieval and modernity, a time of great change in society, culture and politics, which was also characterised by a creative explosion in literature, architecture and of course, art. Many will start their visit to Sarum Lights by watching the display on the west front, which starts with the slight scribble of an artist, rough painted lines which slowly transform into the stunning art of the Renaissance, snippets of which people may recognise. There are few complete works of art in the projection, it is mostly sections and parts of them which form a kaleidoscope of imagery through which the colours and faces of the era emerge - huge Renaissance eyes looking at you as they rise and fall over the west wall in a myriad of the rich reds, golds and blues of the art of that time. It is all accompanied by a soundtrack of atmospheric music, what I thought of as 'Renaissance Chillout', as above you the clouds race across the night sky and the moon and stars occasionally make a fleeting appearance. The normally monotone and silent grounds of the cathedral close at night are transformed into something vibrant, illuminated and entrancing. Inside the cathedral, the nave falls under a single image, emerging from the far end and growing in stature to encompass the whole area. It is most unusual to see the nave without any seating in it, just the font part way down, but the empty space is filled with colours, lights and images in abundance, many of them of maps, writing, and architectural plans highlighting the other cultural arts which were reborn during the Renaissance. The light bounces off the marble memorials, round the pillars and flashes off the recumbent tombs , focusing your attention on details that you may well miss on a normal day time visit. The north and south transepts are also filled with imagery and standing at the crossing of the nave and the north and south transepts gives you a visual down each path where you feel truly immersed in the experience, with the different images, colours and sounds reaching a crescendo as they surround you entirely. The Mona Lisa, da Vinci's Vitruvian Man and other iconic images flash to the sides of you, while in front is the huge kaleidoscope of colours, texts, drawings and patterns spreading across every surface. I spoke to Peter Walker, the artist behind Luxmuralis, to find out more about the installation and what the thought processes were behind its creation. Peter is a sculptor and artist, a Fellow of the Royal Society of Arts, who has years of experience in large scale installations. He told me that the whole installation can take several months to put together, compiling the artwork and setting it to the musical compositions of the other creative half of Luxmuralis, David Harper, a composer who has worked in both film and theatre. They curate the imagery of the show to suit the space it is being displayed in, as although the show is debuting in Salisbury Cathedral, it will soon tour around other venues in the UK. Peter explained that the pictures are carefully chosen, "I don't like things to be proscriptive but there is a message in there for people to find if they know the artworks. They are picked to lead into one another ... we are creating a new artwork with them. This type of artwork is the stained glass window of the time, a new way to take people around buildings like this. In a fast moving world it stimulates the brain in the same way stained glass windows used to, it's just in a contemporary way for the modern audience." The Renaissance (French for re-birth) was selected as a theme as it replicates where Peter feels we need to be as a world culture - we need change and a rebirth of ideas. We need to think again and it is art, culture, science and religion which can drive this forward because we live in such a heavily commercial world. This sentiment is echoed by Revd Dr Kenneth Padley, the Canon Treasurer of Salisbury Cathedral. He told me that the Renaissance theme is very timely after the pandemic as just as in the 15th and 16th centuries, we need to celebrate life and to look at it anew. Churches are about breaking down the myth of science versus religion, "science is the language which God talks, and art is the creative expression of that." The cathedral itself is integral to the experience. As Peter explained, "We have a strange fixed idea of faith, yet it is actually very complex. These buildings have seen hundreds of years of history, philosophy, thought and change and they are still a part of that. Putting artwork on the cathedral walls adds to that discourse." Revd Dr. Padley agrees, as Salisbury Cathedral has a strong association with art , particularly modern art, which goes back some decades, from the installation of the modern stained glass east window in the 1980s, to the recent exhibition of Grayson Perry tapestries which were displayed in the cathedral over the summer, the first time they were ever displayed in a religious setting. "Modern and contemporary art stretches people's thinking and can encompass the whole of the building. It tells a story using the big themes of creativity and modernity." The display is not just about the cathedral but also the participants. Peter explained, "We often say one third of the installation is the building, one third is the art and then we need the public to come in and fill it in. Walking through the light; it goes on your body, your clothes, the people in front of you are immersed in it and you are really part of that." There is no need to know anything about the Renaissance to enjoy the experience. Some of the visitors may enjoy spotting works of art they recognise, others will look at it just for the beauty of being immersed in the light and colour, an appreciation of being a part of the palette. Everything is on a loop so people can take as long as they want to just stand or to walk through it. Visiting Sarum Lights is a unique and unforgettable experience. It takes place when the days are short and the nights are long, providing much needed light and vitality to an otherwise dark and gloomy time in the year. As the Rev Dr Padley said, "Sarum Lights works well as a prequel to the Christmas themes of light and darkness - it is a pivotal time of year with the winter solstice when the light declines and hope starts to grow. The cathedral is there to welcome people from the whole community." The light shows take place in historical buildings around the UK, including such iconic places as the Tower of London  and Winchester Cathedral . Find their updated schedule at Luxmuralis >>   My thanks to Peter Walker and Revd Dr. Kenneth Padley for talking to me about the installation.

Salisbury's Cathedral Close is the biggest in the country and is home to a variety of houses from stately riverside properties to small cottages tucked amongst them. Most properties are private homes and all you get to see of them is their front facing facades, but once a year for charity, many of them will open their garden gates and allow the public in to take a look behind the scenes. The Cathedral Close is a truly beautiful part of the city, and many would agree with Bill Bryson who famously wrote that, "There is no doubt in my mind that Salisbury Cathedral is the single most beautiful structure in England and The Close around it the most beautiful space. Every stone, every wall, every shrub is just right. It is as if every person who has touched it for 700 years has only improved it. I could live on a bench in the grounds". The Close contains 21 Grade I listed buildings and countless other Grade II listed objects such as railings, flagstones, bollards and walls. Several buildings are open to the public such as Salisbury Museum, The Rifles Museum, Mompesson House, Sarum College and Arundels, where former Prime Minister Ted Heath lived until his death. Others are open for events, such as the Medieval Hall, or Rack Close, but for the most part, all you can do is walk past the beautiful homes and wonder what secrets they hide. Once a year however, some of the gardens are opened up to the public to raise money for the Friends of Salisbury Cathedral. The gardens seem to vary each year, probably depending on how confident the owners are feeling about their gardening skills over the past few months, but there are usually about 10 gardens open along with those of the buildings which are open to the public anyway. A white tent is set up in the grounds where you can buy a printed programme telling you a bit about which gardens are open, and the programme acts as your entry ticket. Each building has a cheerful volunteer on the gate, and you just wave your programme at them for entry. It is a fascinating walk through the Close - not just being able to see how the other half live (properties in the Close can sell for millions) and to nose around secret spaces and eclectic gardens, but also to see the cathedral spire from different angles and viewpoints. The end of May/early June is the perfect time of year to see gardens as many roses are starting to emerge, the purple headed alliums are in their prime, the gladioli are at their most vibrant, apple trees have the tiniest of apple buds, early clematis is wrapping itself around the arches and arbours and the ever present wisteria is in full, glorious bloom. The gardens ranged in style from the formal to the quirky, and it was fascinating to see the hidden sculptures, sundials, ponds, water features and wildflower areas, interspersed with the odd butlers sink or rabbit hutch. I particularly liked seeing the evidence of the work that had gone into the garden's creation; the bags of compost stuffed in a corner, trailing hosepipes, trugs and muddy gloves abandoned on a shelf in a cobwebbed shed. One home had their laundry hanging out on a line, it was just too warm and sunny a day to let go to waste, even if their garden was going to be full of nosy crowds. Some gardens had vegetable patches; neat rows of lettuce, beans and potatoes and other emerging vegetables. Log piles, compost heaps and insect hotels were in abundance, with bird feeders and bird houses hanging from tall branches. Many had quiet, shady corners with a small chair and table tucked away, and you just know it's a peaceful spot where the occupant can rest from their gardening for a while with a good book and a Pimms. In some there were benches positioned to get the best view over the flowers, others had seating facing the river which winds it way around the back of the Close with endless views over the Harnham Water Meadows and the waterfowl which glide past. Many back gardens gave you wonderful views of the brickwork of their ancient homes, bricked in windows and doors, random tiles, windows in curious places, all showing how the home had evolved over the centuries. You can see how the houses back on to each other, the hotch potch jumble of additions and extensions and chimneys. Some had the Close walls as part of their garden walls, the ancient soft grey, lichen clad bricks a permanent backdrop to their climbing roses. The event is a popular one, particularly in sunny weather, and the Close is filled with a certain demographic: middle class people d'un certain âge with women in flowery, floaty sundresses, men in chinos and positively everywhere you look, panama hats and wide brimmed sun hats. The snippets of conversation you hear as you shuffle through the gardens include intense discussion of irises, alliums and roses, the merits of dead heading and admiration of the garden sculptures. Some of the gardens had the owners in situ and visitors would approach to ask them how they cared for a particularly tricky perennial, how often did they prune, what was the name of that flowering shrub? I was particularly amused by a visitor to the grandest of all the gardens, which had a very formal layout including statues, who was bemoaning the boring box hedging the owner had put in, saying it showed a complete lack of imagination and was indicative of 'new money'. Entertainment is laid on with musicians who travelled around the gardens, and tea and cake is available for sale in the South Canonry, which is the Bishop's Palace. A huge expanse of gardens as it sits on a bend in the river, it was fascinating to see inside the hallowed walls. Many years ago as a youngster at school in the building next door, I caught the headmistress peering over the school walls - she told me she was just trying to sneakily see what the Bishop was growing in his garden. After all these years, I finally got the chance to see for myself. The Canonry grounds are the perfect place to wander through wild meadow areas with frothy cow parsley as tall as you are, admire the organic vegetable garden and watch the river lapping at the reeds on the bank. People lounged on the grass eating cake and relishing the sunshine in such a beautiful setting. It is the perfect way to end an afternoon exploring the secret gardens of the Cathedral Close. Visiting the Secret Gardens of Salisbury's Cathedral Close The event takes place towards the end of May/early June - follow the Friends of Salisbury Cathedral or Open Gardens for exact dates and timings. Tickets cost £10 each (in 2023) and all proceeds go to charity. If you are not able to visit when the secret gardens event is on, you can still do a fascinating walk around the Cathedral Close. Why not combine it with a visit to Salisbury Cathedral or do the Harnham Water Meadows Walk to see the Cathedral and Close from a different angle?

Salisbury Cathedral is world renowned for its beauty, its tallest spire and its unique Gothic architecture, as well as its location in the stunning Cathedral Close. People travel miles to see it, and it welcomes over 600,000 visitors a year, many including it in a trip to nearby Stonehenge. If you're visiting Salisbury Cathedral and want to know what you shouldn't miss, here we have the definitive guide written by a local. Click on the links to skip to the part you want: 1. Basic Facts >> 2. Top 12 must see highlights of a visit to Salisbury Cathedral >> 3. Visiting details to help you plan your visit, book tickets and tower tours >> 4. Suggestions for other places to visit within a 10 minute walk of the Cathedral Close >> 5. Where to eat when visiting Salisbury Cathedral >> 6. Getting to Stonehenge from Salisbury Cathedral >> 7. Where to stay when visiting Salisbury Cathedral >> 1. Basic facts about Salisbury Cathedral Salisbury Cathedral has the tallest spire in the UK at 123 metres (404 feet). It was built 800 years ago (in 1220) and is unique in that it was built in a short time span - 38 years - so it is all of the same style of architecture - Early English Gothic. The foundations are only 70 cm deep and it is constructed on a barely drained watery swamp. The Cloisters (covered walkway) are the largest in the UK. The Cathedral Close is the largest in the UK at 80 acres. It holds one of only 4 copies of the Magna Carta in the world - the one here is the best preserved copy of them all. It contains the world's oldest working mechanical clock which dates from around 1386. 2. Top Must-See Attractions in Salisbury Cathedral Most visitors visit the main body of the cathedral first, starting near the West Door and working their way down the nave to the altar and the transepts. The tower is only available to those who are doing a tower tour (see below for booking details.) When you leave the main body of the church, you exit into the Cloisters, where you will find the Chapter House and the Magna Carta. A walk round the Cloisters will then lead you to the restaurant, the gift shop and the exit. This list of Must-See Attractions is in the order you are likely to encounter them. The Tower and Spire The cathedral was originally a rather squat looking building until the magnificent spire was added in 1310 - 1330. The top-heavy weight of the stone on a building with such shallow foundations has meant that it has caused some damage to the structure of the cathedral over the years. The spire itself still has the medieval scaffolding used to repair it when it was first damaged in the 14th century. Christopher Wren wrote a report on how to stop the spire shifting in 1668, and the iron bands he advised were added in 1670. They are still there today and have prevented further structural damage. You can go on a tower tour which takes you up into the roof, right to the base of the spire and out onto the parapet with far reaching views over the city - it is a fascinating look at the upper reaches of the cathedral and most definitely worth doing if you get the chance. Read all about taking a Salisbury Cathedral Tower Tour, how to book, what there is to see and the history of the tower and spire >> You can also see the original 14th century cross which was once at the top of the spire, encased in 18th century copper; it was replaced in 1950. It now sits in the north quire of the cathedral near the pulpit. The world's oldest working mechanical clock Believed to be the world's oldest working mechanical clock, although there are other contenders for that title, this faceless clock is thought to date from 1386. It was originally housed in the adjacent Bell Tower, which was severely damaged in the Civil War and eventually destroyed altogether. The clock has no face and instead strikes once on the hour, although this mechanism is often clamped to prevent it from striking. It still has to be hand wound each day by cathedral staff. Tombs and Memorials There is a wide variety of traditional tombs and memorials, the oldest being that of Bishop Osmund, Bishop of the forerunner to the cathedral at Old Sarum. Other notables include William Longspee, son of Henry II and half brother to King John who signed the Magna Carta, Mary Herbert who is recognised as the first English female poet, World War I poet Edward Tennant and as well as Prime Minister Sir Edward Heath, who lived in the Close. There are other lesser known, but no less fascinating individuals, buried and memorialised within the cathedral bounds. You can read more about them and their stories in this article on Tombs and Memorials to look out for in Salisbury Cathedral >> The Infinity Font The Infinity Font is a beautiful, modern font right in the centre of the nave. Added in 2008 as the cathedral hadn't had a font for over 200 years, the font was designed and created by William Pye, renowned water sculptor. It is the only font to have its own water supply and power source, and the only one which is centre stage in a cathedral, rather than tucked away as so many other fonts are. It is 10 feet across and in a cruciform shape. The water is so still that it looks like a mirror, leading to some incredible reflective photos from visitors. Apparently one visitor was so convinced it was glass she put her handbag on it - with rather soggy consequences. The water leaves the font in streams at the sides, running into channels in the floor. Although it took a while for locals to warm to its presence in the cathedral, we now love it and wouldn't be without it. The Prisoners of Conscience Window and Amnesty Candle At the East end of the cathedral behind the altar is a large, blue stained glass window dedicated to Prisoners of Conscience, and a candle wrapped in barbed wire which is kept permanently alight in memory of those who are imprisoned for their beliefs. Each morning at 7.30am, the members of the cathedral community meet there and pray for Amnesty International's Prisoner of Conscience for that month. The Bumping Stone The Bumping Stone is in the south choir aisle, part of a ledge where for centuries male choristers have been initiated into their role in the cathedral choir on the day they get their surplices. Their heads are gently bumped seven times against the stone, and as you can see from the size of the dent, this practice has been going on for some time. Salisbury Cathedral was the first to have a girls choir in 1991 - their heads are gently bumped on a bible instead. Father Willis Organ The cathedral are very proud of their Father Willis organ, which is over 140 years old and an important piece of musical heritage, considered to be the best pipe organ in the country. It still sounds the same as it did in 1877 as although it has been restored, it has never been updated or modernised. You will hear it if you attend any of the services, or if you are visiting while it is being tuned. They do warn you about the tuning in advance as it is not the easiest of sounds on the ear - find out the tuning dates in advance and read more about the organ here >> The Chapter House The Chapter House is where meetings were held by the clergy, and was in daily use until the Reformation, when it fell into some disrepair. It has since been restored. It is a polygonal room with high vaulted ceiling supported by a central column, stained glass windows and a frieze of stills from Genesis around the spandrels, some of which were destroyed during the 17th century. The floor is 19th century tiles emulating the original medieval inlaid tiles. Overall it is an impressive and dramatic space, and hosts changing exhibitions from the cathedral archives or about the Magna Carta. The Chapter House isn't always open every time the cathedral is, so check here before you go if it will be open. It is usually open Monday - Saturday, 10am - 5pm. The Magna Carta The star attraction of the Chapter House, the Magna Carta is housed in a shrouded tent to protect it from the light. It is one of only four remaining copies, and is the best preserved of them all. Written in 1215 and signed under pressure by King John in a field in Runnymede, it is the foundation of human rights in the Anglo-American legal systems, declaring the rights and liberties held by free men and that the King is not above the law. Salisbury has a copy of the Magna Carta because present at Runnymede was Elias of Dereham, who was steward to the Archbishop of Canterbury. Once Magna Carta was sealed, he was entrusted with delivering ten of the thirteen copies made, one of which was given to the original cathedral at Old Sarum. He later oversaw construction of Salisbury Cathedral and transferred the Magna Carta across. The Cloisters The cloisters in Salisbury are the largest in the country and were built just five years after the main body of the cathedral. The two cedar trees were planted about 150 years ago to commemorate Queen Victoria's ascension to the throne. There is a rather odd Barbara Hepworth sculpture in the corner of the green, called Construction (Crucifixion), gifted to the cathedral by the artist in 1969. Visitors can walk round the cloisters but not in the central area. There are memorials on the walls, including some poignant wooden crosses from the original graves of World War I soldiers, before their permanent headstones were put in place. One side of the cloisters is filled with tables for visitors to the Refectory restaurant to be able to eat and drink while admiring the view. Peregrine Falcons Peregrine Falcons were regular visitors to the cathedral over the centuries, with records of them nesting in the tower from 1864 - 1953. They disappeared for many years due to the use of dangerous pesticides and being hunted, but they returned to the tower in 2014 in a specially built nest box made by the Cathedral Works Team. Since then they have hatched and fledged from the tower every year (except for 2018 when a territorial battle between two females prevented it) and they now have their own You Tube channel live stream, in breeding season, where you can watch them hatching. Depending on the time of year you visit, you may well be able to see them swooping and wheeling in the skies above when are you are in the Cathedral Close. Art Installations The cathedral has regular and ever changing art exhibitions both within its walls and outside in the Close. Some of these are fantastic and well worth seeing if you get the chance. They range from static displays to light shows such as the incredible Sarum Lights in Feb 2020 which filled the cathedral with a wall of colours, lights and sounds. You can find out what art events they have coming up here >> The Library The cathedral's library is only open for tours or on special open days but keep an eye on the Events and What's On page to see when it is open. You can read about a visit to the library here >> 3. Visiting Salisbury Cathedral Getting to Salisbury Cathedral Train: There are regular trains from cities such as London and Bath. Book your tickets 12 weeks in advance to get the largest discounts. Salisbury train station is a 5-10 minute easy walk to the cathedral, or you can get a taxi from the taxi rank outside the station - no pre-booking required. Bus: There are regular buses into and around Salisbury with several bus stops just outside the Cathedral Close. Find your bus >> Car: It is not advisable to park in the Cathedral Close. Instead your best bet is to park in the central car park at SP1 3SL and walk the 5 minutes to the cathedral. If you are coming from out of town, consider using one of the Park & Ride sites, as traffic in Salisbury can be busy and confusing at times. Opening hours: Monday - Saturday, 9.30 - 5pm You can book in advance or just show up - tickets are cheaper if you book in advance. Ticket Prices: Adults: £8 advance, £9 on the day Students (13-18 years): £5 advance, £6 on the day Children under 13: Free Residents in SP1, SP2 and Laverstock: Free (with proof of residence) Book tickets here>> Tower Tours At the moment you can only book for a group to go on a tower tour, at £90 for 6 people. Once the pandemic is fully over, hopefully they will go back to allowing people to just book individual spaces on a tour. It is however a fantastic tour and well worth doing if you can. No under 7s and you need a reasonable level of fitness to get up all the steps. Book Tower Tour tickets here>> 4. Other places to visit within a 10 minute walk of Salisbury's Cathedral Close (Click on the pictures for further details) 5. Where to eat when visiting Salisbury Cathedral The cathedral has a good refectory in the Cloisters where you can get full meal, snack or just a drink. It is a modern addition to the building with a glass ceiling where you can look up at the spire. Both Salisbury Museum and the Rifles Museum in the Cathedral Close have a café where you can get snacks and drinks - if it is a sunny day you can sit outside and admire the cathedral. Just a four minute walk away is the 16th century New Inn - a traditional British pub with excellent food and a large, verdant garden. It is well worth a visit. 6. Getting to Stonehenge from Salisbury Cathedral By car: Leave Salisbury on the A360 heading north. It is a straight line out of town and takes about 20 minutes. Go straight over the roundabout with the A303 and turn right into the Stonehenge car park. By bus: Walk from the Cathedral to Salisbury train station - it is a 5 minute walk. Outside the station there are regular buses with their own dedicated bus stop which will take you straight there. Find timetables and prices here >> Don't want to pay to see Stonehenge? Why not do a walk in the wider ancient landscape and walk from Woodhenge to Stonehenge, seeing both for free? 7. Where to stay when visiting Salisbury Cathedral There is plenty of choice when it comes to finding somewhere to stay in Salisbury. If you are looking for something independently owned or a bit quirky, try our Independently owned accommodation in Salisbury page. Otherwise, have a look on Booking.com (below) who give you the advantage of free cancellation up to 24 hours before you stay on most of their properties.

and around Salisbury Chalke Valley Camping Situated in the beautiful village of Bowerchalke on the Wiltshire There is a dedicated campfire field, making it possibly the only campsite in Wiltshire which allows campfires It is now the home of The Rifles Berkshire and Wiltshire Museum.

The busy weekend got off to a good start with sunshine and a brilliant blue sky on Saturday. Families were queuing early to get into the History Festival and soon there was an enthusiastic rush of children jumping and leaping, demanding of parents and grandparents, “What are we going to do FIRST?”. As they dispersed across the valley, the helter-skelter, the big wheel and ice cream seemed initially to be less of an attraction than the performances by History’s Maid, Viking Stories or Major Banger King (among many others) or having a go at Sword School or chiselling a Great War gravestone. It was also good to see youngsters present to hear the academic speakers such as Jonathan Sumption who gave a powerful analysis of the Hundred Years War, something clearly far removed from any immediate ancestral experience and not taught in schools. Jonathan Dimbleby, unable to be here in person because of the imminence of the election, spoke with his usual enthusiasm and passion by video link about his new book Endgame 1944, which analyses Operation Bagration, the massive Russian offensive against Germany, timed to take advantage of the Normandy landings in the west. He described the horrific atrocities and monumental casualties that occurred and how Stalin learnt not to interfere in his commander’s decisions at the same time as Hitler was trying to micromanage the fighting - both with disastrous consequences for the German army. James Holland, Peter Caddick-Adams and Michael Neuberg then discussed how strongly the memory of the Great Patriotic War affects Putin’s thinking today, and how the general disregard for the lives of Russian soldiers seems still to be a feature of Russian operations as now in Ukraine. Nabila Ramdani, a French-Algerian journalist gave a powerful indictment of contemporary France in her talk in the Stove Tent. She contended that France was built on the idealism of liberty, equality and fraternity but that this is now a myth bearing no resemblance to reality. The citizens are angry and dissatisfied, there is economic injustice, educational inequalities, institutional rioting, terrorism, religious discrimination and paramilitary policing. The far right may be trying to hide its origins linked to the Nazis, but in fact Nazi nostalgia and racism remain strong within Rassemblement National. The Fifth Republic, emerging from the end of the war in Algeria, gave its President far too much power making reform of the constitution almost impossible. If Marine Le Pen should become President in 2027 France will become an “elected dictatorship”. It was a depressing picture. A highlight of the talks was James May in discussion with James Holland. To a packed audience they discussed, 'The Car: Did we get it wrong?' As you would expect in any talk with James May, there was much humour, and he won me over when he said that there was really no need for any car other than a Golf, which is in fact the perfect car in terms of size, speed and cost. Today was a day for displays, and both the Wimborne Militia and the WWII artillery put on impressive displays for the admiring crowds, with the rumbling of tanks and crack of gunshots ringing through the valley. A particular highlight was a fly-past by a Spitfire and crowds assembled on the hill and around the Chalke sign to watch it. We were very lucky as it did several loops around the valley, that iconic noise and the glint of the sunshine on its wings against the perfectly blue sky making it a truly memorable experience. When the pilot dipped his wings before he left, a round of applause broke out from the crowd. The day ended with a D-Day dance in the Speigeltent, to the accompaniment of 1940s swing music. Professional swing dancers took to the floor but soon everyone was joining in, and it was a splendid way to end a busy Saturday. This week has proved that despite the loss of their original sponsor and less national media coverage than in previous years, the festival will continue to entertain, educate and enthrall; they have kept the best of what makes it such a success and added a few extra touches. The increase in talks included in the price ticket is surely a winner for visitors, as is the introduction of a weekly pass, so people can dip in and out as they wish. New additions such as Friday night's Abba tribute band, an increase in kids activities with the Victorian Wild West show, and an Instagrammable 'CHALKE' high on the hill have attracted different types of visitors to the festival and as the festival is determined to maintain the delicate balance between the old faithful and the newcomers, the longevity of the festival is assured for many years to come. DAY FIVE The sun may have stayed home for Day five, but the crowds certainly didn't, although many of them may have been regretting their sartorial choices of shorts, sandals and sunhats. The build up to the weekend has begun as families arrived on site and the fairground rides started to see some action. Celebrity arrived too, with BBC star Ben Willbond on site and groups of giggling teenage girls waiting outside the press tent just to catch a glimpse of him. One of the most popular speakers every year is Sir Max Hastings and today the Hiscox tent was a sell out for 'Operation Biting: The 1942 parachute assault to capture German radar', one of the most successful British raids of the war. Sir Max always brings both drama and human personalities into his compelling narratives, and his audience today was totally absorbed by his gripping account of the discovery of the German radar network on the coast of Nazi occupied Europe, codenamed Wurzburg, and the subsequent planning and fulfilment of the plot to drop airborne troops at Bruneval in Normandy both to disable the radar and bring home vital components and information. The many characters involved in this operation from Lord Louis Mountbatten, Boy Browning, and the French agent Remy to Charlie Cox, the young RAF technician whose role was to dismantle the equipment, were described with clarity and humour. The speaker had the audience collectively holding its breath as he described the escape to the beach and the heart-stopping delay in the arrival of the landing craft to take them and their precious cargo safely back across the Channel. In a time of bad news the paras had proved the potency of surprise from the sky and Churchill was unstinting in his praise. With the buzzards circling overhead the IPGL arena Professor Michael Neuberg delivered a powerful summary of the complex history of Palestine from WWI through WWII to 1948 to help shed light on why the current problems of Gaza and the Middle East are so incredibly difficult to unravel and solve. He detailed the Balfour Declaration by the British of 1917- a document still used by both Israelis and Palestinians to justify their claims and positions. Kristallnacht in Germany in November 1938 added to an already existing refugee problem and at the end of the war the discovery of the death camps gave urgency to the finding of a solution. The result was the creation of Israel in 1948 which in turn caused a further refugee crisis as Palestinians were driven out of their homes, an event contributing to the present war which has followed the attack by Hamas on Israel. Professor Neuberg put forward three possible land solutions, all of which had significant obstacles to implantation because the traumas of history are getting in the way of compromise and understanding. Saul David focused his talk about Airborne Forces in WWII on a specific event which encapsulated the courage and determination of paratroopers, that of the glider landing near Pegasus Bridge in the early hours of June 6th, 1944 and the subsequent capture of two vital bridges to enable the Allies to move east after their invasion of the Normandy beaches. He took us through the drama and tension of those hours following the successful and accurate landing of most of the Horsas, to the fighting under the command of Major John Howard, the rapid capture of both bridges within 10 minutes, and the skill of men from the Oxford and Bucks LI in holding them against the German counterattack. It was a powerful and riveting talk, and a great tribute to all the men who fought and died that day and in all airborne operations throughout the war. Sophie Yeo, environmental journalist, was in discussion with archaeologist Rebecca Wragg Sykes about her new book, 'Nature's Ghosts: The World We Lost and how to Bring it Back'. She talked about how she used historical analysis such as archives, journals of travellers and explorers and even Welsh poetry to look at what there was an abundance of in the natural world in the past, to see what we are lacking today. This is not a book about rewilding, although that plays a part, but also about how the landscape can remember the presence of people. A forest in France was found to have once been home to a Roman farm, and despite 2000 years passing, the forest has not regrown back to its natural state; the insect life and flowers and more common and less rare than the original varieties which once grew there: human activity has an impact of everything and the landscape has a deep memory. Two of the stars of 'Ghosts' and 'Horrible Histories' were on the IPGL stage this afternoon; Ben Willbond and Laurence Rickard. For the first time at Chalke History Festival, people sat on the grass as close as they could get to the stage, cheering the speakers at every opportunity they got. They were both highly entertaining and amusing, keeping their audience entranced with their stories about making the BBC series, 'Ghosts', which is actually well worth a watch for some light hearted historical humour. DAY FOUR Day Four may have got off to a grey and gloomy start, but it didn't take long for the drizzle to stop and the sun to come out in full force. D-Day was on the menu, so the big guns were brought out, including James Holland, Peter Caddick Adams and a 25 pound artillery gun to make loud bangs and drift clouds of smoke across the valley. The Hiscox tent was completely packed for the D-Day morning whose talks were led by James Holland, Peter Caddick-Adams and Al Murray. They discussed the nature of fighting in Normandy and how the expectation of the Allies had been that they would experience the hardest task on the beaches but “be able to stop for calvados and croissants on the way to Berlin”. The reality was totally different as D-Day saw the Allies established on the land but the battle through the bocage and the difficult terrain of Normandy proved to be horrifyingly difficult. There were interesting comparisons between the approaches and capabilities of the opposing armies. The Allied armies (average age of the British soldier was 21) had had many months of training in the UK whereas many of the German army (average age 35) were coming to the battle from the bitter fighting on the Eastern Front: many had been wounded and were expecting rehabilitation. The Allied armies, as reflecting their democratic societies, valued the lives of their soldiers and so their medical facilities, with plasma and penicillin ready, were efficient and effective. By contrast, the German generals saw their soldiers as expendable and there was no mass production of penicillin until the autumn of 1944. The Allied soldiers were usually in the front line for no more than 4 days at a time, whereas the German army were constantly on the alert, including having to move all equipment and supplies at night as the Allies quickly had command of the air. The utter exhaustion and brutal experience of soldiers from both sides was discussed, with a timely reminder that this was now the ordeal for Ukrainian soldiers. The History Festival always treasures veterans and Henry Rice was a great addition to the stage. He began by commenting that at the recent D-Day commemorations in France, “I was the baby, I’m only 98, there were some very old people there”. He spoke of his experience as a signaller on HMS Eastway on the day of the landings and the work that he does now visiting schools in both the UK and France. He was adamant that today’s children must be taught about the wars to prevent them happening again, and was alarmed that British schools seemed largely to be ignoring them in the modern day curriculum. The Hiscox Tent gave him a standing ovation. The morning culminated in the firing of a 25 pound artillery gun, with crowds gathered, fingers in ears, to watch it firing off towards the Chalke sign on Holland Hill. Enthusiasts stood with cameras poised to film the big moment, but unfortunately it only fired once; something had gone wrong and prevented it from firing again. The disappointment didn't last long however, as people wandered off to sample other talks, performances, to stroll down Museum Row or just find some lunch from one of the many food stalls on site. Journalists Francis Dearnley and Dominic Nichols introduced their talk “Ukraine: Rhetoric and Reality” with the observation that “ journalism is the first draft of history” and proceeded to tell the audience much of what they have learnt about the war in Ukraine since the invasion of February 2022. They discussed whether, and how, President Kerensky’s maximalist aim of turning the Russians out of all Ukrainian territory could be realised in reality, especially as whoever wins the Presidential election in America, there is no evidence that support will increase. They believe that there is some naivety in the West about Putin’s intentions - the Kremlin continues to state that its aim is the total control and absorption of Ukraine and there is no evidence that it will retreat from this position. However, Putin has not responded to various escalations of supply of equipment from the West despite his threats of nuclear retaliation, perhaps because China is urging restraint. Several Ukrainians, here as refugees from the conflict, came from their nearby tent and stalls to listen to this talk. It must have been a distressing experience to hear of the horrors currently besetting their country, and the speculation about its uncertain future. Kate Morgan was in conversation with Trevor Dolby about her new book, The Walnut Tree, the title taken from the old proverb, 'A woman, a dog and a walnut tree; the more you beat them the better they be." She talked about Caroline Norton who left her husband in 1836, and how he was able to keep all of her assets as well as her children in a despicable act of cruelty, supported by the law. Her case led to many legal reforms, although not enough, as women were not allowed to own property as they were property themselves. Kate talked about the terrible treatment of women by the law, 'wife sales', the fact that it was considered impossible for rape to occur within marriage and how women were always the ones held responsible for prostitution, rather than the men buying it. It was a fascinating talk and shows just how extensive the subject matter can be at this festival. Other talks today included Ali Ansari who gave a talk on 'Iran: the Twilight of the Islamic Republic' to possibly the biggest crowd to attend a talk at this year's festival. People lay back in the sunshine with a pint to listen to his extensive knowledge: particularly relevant was his statement that history is the 'Queen of the Humanities', providing us with the ability to study processes over a long period of time, it is the study of change, and how to value and study evidence to construct narratives. The sun is setting on another fantastic day at the festival, with three more days still to go. Highlights of tomorrow include Saul David on British airborne forces in WW2, James Holland, Charlie Higson and Antony Beevor talking about war movies, the ever popular Histrionics with Dan Snow and Max Hastings on Operation Biting. Performances and smaller talks continue, as do Soldier School, the Trench Experience and a host of other displays and activities. DAY 2 The second day of the festival got off to a sunny start, and primary school children filled the site until it was time for the public to arrive at 3.30pm. Panama hats, sundresses and blazers were out in force as the talks and performances continued, culminating in the sold out live broadcast of The Rest is History . Tracy Borman, Chief Curator of Royal Palaces, explained the significance of the buildings she administers and detailed some of the secrets not usually revealed to the visiting public. She focused particularly on the Tower of London as having a major role in so many of the dramatic events in the nation’s history. During the Peasants Revolt in 1399 the building was stormed by the rebels and the Archbishop of Canterbury decapitated in the White Tower. Anne Boleyn was tried, condemned and executed here. The Tower was only saved during the Great Fire in 1666 by Samuel Pepys who alerted the a king to the flames creeping ominously close. The soldiers had to rescue and move 66 barrels of gunpowder out on to the safety of the Thames. There was discussion of the unsolved mysteries, particularly the murder of Henry VI while at prayer in the Tower in 1471 and the disappearance of the princes in 1483. She spoke of rare escapes - Ranulf Flambard, the very first prisoner, lowered out of the tower by a rope, Father John Gerard, the Catholic priest who escaped by zip wire in 1597 and the Jacobite Lord Nivesdale walking boldly out of his cell dressed as lady’s maid in 1716. The famous myths and legends surrounding the ravens and the authenticity of the Crown Jewels were discussed. Unexpected was the information about the preparation in 1940 for the possible arrival of Adolf Hitler as a prisoner - and the toilet prepared in his planned quarters, still known as “Hitler’s loo”. Tracy Borman, Michael Wood and Tim Bouverie later held a lively discussion of the nature of power and what constitutes leadership. As well as monarchs, the roles of other significant figures were analysed for their qualities. Elizabeth I was praised as a pragmatist with a great ability to choose loyal and wise advisers like William Cecil. Her skill in steering the country through the religious crisis, and her complete commitment to the national, her awareness of the power of propaganda were all praised. Alfred’s struggle against the Danes demonstrated great military leadership and his construction of a cultured and scholarly court rescued England from the destruction of previous years. Other major characters such as Martin Luther and Gandhi were considered for various traits of leadership, with some excursions into counterfactual history and the impact of the individual on historical events. All agreed that many of the best monarchs were those like Alfred and Elizabeth who were not destined by birth to be rulers, but became so by accidents of history. And just how many strong female rulers were lost by the law of male primogeniture? Corrine Fowler, co-author of the report commissioned by the National Trust which caused such consternation a few years ago, was in conversation on the outdoor stage with Alex Langlands. Clearly very bitter about the way she was treated by the press at the time, she talked about the media noise, angry that she never got a right of reply. Her new book looks at those in UK who were affected by colonialism, the indentured who were affected by events and actions of colonialism overseas.  Written as a series of walks of about 7km each, through some of the most beautiful landscapes in Britain, she describes the landscapes she walks through as well as the conversations she had with the people she took on her walks. However, taking people with overseas heritage to talk about the enclosure acts that affected the indigenous population of the UK from 1604 onwards will probably open her up to more criticism, her determination to find colonialism in every aspect of British history makes me think that her brush with media notoriety was perhaps not as unwelcome as she had earlier stated. There is a significant Ukrainian presence along Museum Row, a stall staffed by some of the many Ukrainians who have been welcomed to Britain over the last two and a half years. A large group of Ukrainians are here in Salisbury and the surrounding area, some of whom are now based in the Chalke Valley. They are keen to express their gratitude and also to display and sell items to raise awareness of their country’s continuing plight. Visitors can do their own block printing (vybiyka), practise embroidery and taste special occasion dumplings (varenyky). The Ukrainians are the only unwilling living historians at the festival, their appearance here, and the relevant talks on Ukraine coming later in the week, act as significant reminder of the problems Europe is facing today, somewhat overshadowed at present by the conflict in the Middle East. It was a great treat to enjoy the last event of the day - Tom Holland and Dominic Sandbrook talking about the origin of their hugely successful podcast The Rest is History, described as the 'Taylor Swift' of podcasts. They claim not to take themselves or their subject matter too seriously, but in fact their gentle banter and wacky observations are deeply rooted in academic knowledge and historical analysis. They succeed largely because of their ability to “get into the heads of the age” and enjoy the “otherness” of the past. It is no surprise that they have a huge following in the USA as well as Britain. The festival screened the England match as the sun set on another fantastic day of history, and the bar was filled with visitors and re-enactors all enjoying a few drinks; the beautiful landscape providing welcome distraction from what has since been described as one of the most boring England matches in history. DAY ONE Finally, after a year's wait, our favourite festival is back. Re-branded but still comfortingly familiar, the beautiful Chalke valley will spend the next week as home to 30,000 visitors, living historians, speakers, volunteers, and staff. An important traditional feature is that the sun is back, and promises to keep shining for (most) of the week. The volunteers, many fresh from A- Level History, are here to conduct visitors to their seats. The site staff are poised with litter pickers, rarely needed in this environmentally conscious gathering. The military hardware is assembling, ready to demonstrate its might, and the re-enactors are setting up their stalls. Today and tomorrow, the site is host to the schools, who come for a day of education and fun, listening to some of the biggest names in history give talks on relevant A-Level and GCSE subjects. Children also get a chance to try firing guns, arrows, exploring tanks, going through the famous Trench Experience, learning about the exploits of the SOE, and so much more. Groups of kids between talks visit the various stands to learn about ancient crafts, or gather for group shots around the newly installed CHALKE which stands over the valley, ready to go on their Instagram accounts. In the soporific heat, the odd teenager languishes on a picnic table, 1940s music washing over him from a nearby tent whilst over the tannoy, announcements tell others to hurry back to their coach before it leaves without them. By about 4 o'clock, the last of the kids have gone back to their schools for the day, and the public arrive for the first of the paid talks. This year, the festival has fewer paid talks, with only two tents reserved for them, instead they have opened up the festival so that much more is included in the single day ticket, with more talks and activities on offer for everyone. For the talks, the traditional Hiscox tent is joined by the new Spiegeltent, a truly wonderful addition to the site. Spiegeltents (mirror tents) are traditional wooden and canvas touring tents, originating in Belgium in the late 19th century, with very few remaining. The one which has set up camp in the Chalke Valley is one of the most elaborate and lavishly decorated in existence. This amazing structure has wooden floorboards, ornate blue and gold carved walls and columns, purple drapes hanging from the ceiling which has an atrium of red and green stained glass windows with mirrors all around the walls and even on the columns and decorations. Three painted cherubs preside high over the audience at the pinnacle of the tent. It is a fabulous place to listen to history. Its inaugural public talk was on Anne Boleyn, by author Estelle Paranque in conversation with Shalina Patel. She talked about her recently published book which looked at the well told story of Anne Boleyn through a new lens, that of the French angle of her story. She didn't even try to hide her (perfectly valid) disdain for Henry VIII, telling how he destroyed Anne's family, how he mistreated Anne, how the 17 'love' letters we still have between them are in fact 'lust' letters, because, "you don't kill someone you love". She described an incident that got Anne into a lot of trouble: Anne was talking to the French Ambassador and saw Henry flirting with another woman, which caused her to laugh out loud. The ambassador thought she was mocking him, and told her off, saying that her husband can do what he wants, a Queen should be obedient and submissive. Anne was far ahead of her time, a modern woman in post-medieval age, and in her fascinating talk, Estelle made her contempt for the way she was treated very clear. The opening talk in the Hiscox Tent was Stalin: The Impossible Alliance That Won The War by Giles Milton, whose book is currently being serialised on Radio 4. His talk focused on the utter improbability of any kind of understanding between the Communist-hating Churchill and the mass murderer dictator Stalin. Using unpublished diaries, letters and secret reports, he explained how an unlikely wealthy trio of the American, Averell Harriman, his daughter Kathy and the quirky Archie Clark Kerr all negotiated with Stalin and the Kremlin’s wily operators to bring about the essential partnership that eventually led to the defeat of Hitler. The newly discovered documents also revealed how the three knew early on of Stalin’s plans for domination of Eastern Europe once the war was over. Disappointingly but understandably, Robert Peston could not put in a personal appearance as ITV needed him for an election broadcast, but he had pre-recorded a conversation based on his book Bust: Saving the Economy, Democracy and our Sanity with Fred Casella. He sees the coming election as the weirdest he has ever covered, with the ruling party in effect conceding defeat before polling day. He briefly outlined the internal and external shocks that have shaken the current government, and told us there was hope as long as the incoming administration made bold decisions on development projects, unequal distribution of wealth, welfare, education and governance. It made for compelling listening, especially so near to the country casting its collective vote. The talks are off to a stellar start, which bodes well for the week ahead. There is a sense of anticipation about the site. For now, the Ferris wheel and helter-skelter remain silent, it won't be until towards the end of the week when they will be accompanied by screams and laughter. Areas of the site remain untouched, waiting for the living historians who will slowly arrive over the week, filling up the site with white canvas tents, colourful uniforms, the smells of food being cooked over open fires and the echoes of gunshot and canons throughout the valley. Tomorrow is another day for schools, with more public talks in the early evening, and on Wednesday is the first of the full days of public talks throughout the day. Many have sold out but there are still some tickets for sale, and now is the time to get them before they all go. The forecast is impressive for the week ahead, the site is as glorious as ever and there is so much to see and do. For those who can't make it, the festival has set up the Chalke History Club which provides exclusive access to the best talks from this and previous festivals, live online talks as well as other assorted perks. For those that can make it, membership gives you priority booking, money off, welcome drinks and more. The whole festival is a charity with the mission to educate children about history, and all money received goes directly to the charitable foundation. Find out more about memberships at the Chalke History Club.

The ordination of Boy Bishops was a medieval tradition in which a choir boy would become Bishop from St. Nicholas Day (6th December) until Holy Innocents Day (28th December), wearing the Bishop's vestments, leading prayers and preaching the sermon, in a complete role reversal. Although the practice was banned in the 16th century, a few cathedrals re-introduced a version of it in the 20th century, of which Salisbury is one. Photograph © Salisbury Cathedral/Finbarr Webster The Boy Bishop Tradition Like many traditions established centuries ago, the origins and purpose of the Boy Bishop is unknown, with some believing its purpose to be teaching humility to the powerful Bishops, teaching responsibility to the boys, or a form of a 'Switch the Ranks' which takes place in many other formal organisations such as the military or gentry, which have clear divisions of superiors and inferiors in terms of status, who will reverse roles for a day of merriment. The Boy Bishop tradition probably started in Europe, but had reached England by the 13th Century, probably earlier. The ceremonies must have been firmly established by 1263, since they are said to be in accordance with ancient custom*. Another comment was made about them in 1263 by Dean Geoffrey de Feringues and at St Paul's in both 1245 and 1295 there is mention in the inventories of robes and pastoral staff for the Boy Bishop. In the Temple Church in London in 1302, the inventory mentions robes for the Boy Bishop and in Salisbury in 1222, the inventory mentions a gold ring for the Boy Bishop. In Heton in 1299 Edward I gave a gift to the Boy Bishop. It is mentionned again in the statutes of Salisbury in 1319, where, 'it is ordered that the boy bishop shall not make a feast.' Boy bishops originated at a time when the Catholic Church held a great deal of power and influence in European society, with the position of Bishop being highly prestigious and held by wealthy and powerful men. The Church also believed in the importance of humility and the idea that even the youngest and most innocent could serve a spiritual purpose and as a result, the tradition of boy bishops possibly emerged as a way to celebrate the innocence and purity of youth while also serving as a reminder of the humility and service that was expected of those in positions of spiritual authority. The Boy Bishop is generally inaugurated on 6th December, which is the feast of St. Nicholas, the patron saint of children. St. Nicholas was an early Christian Bishop during the Roman era, and his habit of secret gift-giving led to the tradition of St Nicholas on the continent, and Father Christmas in the UK and USA. To become a Boy Bishop, a young boy would be chosen from among the choir or community and given a special ceremony in which he was appointed. Originally known as Episcopus Choristaram (Chorister Bishop), he was expected to be corpore formoses (beautiful in body) and to possess claram vocem puerilem (a clear childish voice). In Salisbury, his reign would last up to the Feast of the Holy Innocents, which is celebrated on December 28th. Once appointed, the boy bishop would be given many of the same rights and privileges as a regular bishop. In Salisbury it is thought that the Boy Bishop also had the power to dispose of prebends during his brief reign, although he would usually be guided in this by the clergy. The boy bishops would choose friends to take the role of canons in his staff, together they would dance, sing and lead processions through their local towns, leading to accusations of the practice being flippant and sacrilegious. The tradition of the Chorister Bishop was formally abrogated on the continent in 1431, with a declaration from the Council of Basel, although partly because the authority of that council was always in dispute, it was never regarded as authoritative. This can be seen from the fact that, although one or two took notice of it, the ceremonies continued on unhindered in many places. It wasn't until Henry VIII became Head of the Church, and decided that the levity and frivolity which was attached to the practice was not befitting his new role, that it ceased in England. Issuing a Proclamation in 1542, it concluded, "And whereas heretofore dyvers and many superstitious and chyldysh observauncies have be used, ... as upon Saint Nicholas, the Holie Innocents, and such like, children be strangelie decked and apparayled to counterfeit Priests, Bishops, and Women, and to be ledde with songes and dances from house to house, blessing the people, and gathering of money; and boyes do singe masse and preache in the pulpitt, with such other unfittinge and inconvenient usages, rather to the derysyon than anie true glorie of God, or honour of his sayntes." The practice was resurrected in Salisbury in the 1980s, but now the realm of the Chorister Bishop lasts for less than an hour, for the duration of the Evensong service nearest St Nicholas. These days it is just as likely to be a girl chorister, as Salisbury Cathedral was the first English cathedral to introduce female choristers (in 1991) and this has extended to the role of Chorister Bishop. Attending the Chorister Bishop Ceremony in Salisbury Cathedral Anyone can attend the Evensong service which takes place on the Sunday evening nearest 6th December, around 4.30pm. If you get there early enough you can get a seat in the quire so you can see everything that takes place. The procession leads in as normal led by the Bishop of Salisbury, and Evensong continues as normal, but during the reading of the Magnificat, when the line, "He hath put down the mighty from their seat: and hath exalted the humble and meek" is read, the Bishop relinquishes his robe, mitre and ring, while the Chorister Bishop is helped into his robes by his revenue of friends, and ascends into the Cathedra, the Bishop's throne. From here he leads the prayers and gives a sermon. In the ceremony I attended, where Rory Law took on the role of Bishop, he spoke with much maturity and clarity about how it is the children who are expected to clean up the mess of the adults, ('twas ever thus) and about young, inspirational leaders such as Greta Thunberg, Malala and Tent Boy who are leading protests against environmental destruction, overpopulation, deforestation and so much more. At the end of the service the procession files out, with the bishop looking somewhat defenestrated without his mitre. It is a rather lovely event to attend. In the depths of winter it is dark outside, the cathedral is softly lit, the choir sounds as melodic as ever and there is an air of excitement amongst the congregation, many of whom are probably friends and relatives of the Chorister Bishop and his young retinue. The service itself is conducted with much solemnity, but just after the procession out, I saw the Boy Bishop and the Bishop having a giggle about the event, probably with relief that all had gone smoothly. After the service, have a look for the 'Boy Bishop's tomb'. It was thought that if a Boy Bishop died while incumbent, he would be buried with the full accoutrements due a bishop, and in the cathedral is a small tomb with the image of a bishop on the lid. For many years this was thought to be the tomb of a Boy Bishop, but recent research has determined that it is probably some of the internal organs of an adult bishop, probably Bishop Poore, the bishop who moved the cathedral from Old Sarum and founded the cathedral in its current location. The Salisbury Cathedral website will have details about the ceremony towards the end of each November. Read our definitive guide to Salisbury Cathedral Find out more about tombs and memorials within Salisbury Cathedral Sources and further reading: *W Sparrow Simpson (ed), Registrum Statutorum et Consuetudinum Ecclesiae Cathedralis Sancti Pauli Londiniensis, London, 1873, p. 91. Hymns and Carols of Christmas The Tudor Society St. Nicholas Centre Article written with historical information supplied by Neil Mackenzie, author of the definitive book on Boy Bishops, which you can buy by clicking on the picture

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