St Peter, Folkestone, Kent
Heritage weekend now last two weekend and maybe up to four, or more, weekday, meaning that I had the chance to visit some I missed the week before.
The write up on the heritage website sounded interesting, so we were at the door of St Peter just after ten.
After renovation, required when it was discovered that the white paint used inside was not allowing the bricks to breath, upon its removal, this fantastic brickwork was uncovered, and the decision by English Heritage not to put a new coat of paint on, and allow the multi-coloured bricks to be seen.
The font was pointed out, as this, it had been thought, been rescued from a Norfolk church about to be consumed by the sea. Some research has shown the font to have been from St Peter Southgate in Norwich, after the vicar in 1909 saw it in the porch of St Etheldreda's in the same city.
A true Victorian church, now revealed as it's designer and builders would have seen it.
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High on the East cliff overlooking the harbour is a remarkable group of school and church. St Peter's is a shrine of peace and tranquillity and has a real sense of holiness. Built to serve the growing community of the resort, it was originally designed by Richard Hussey in 1862. For the next few years the church became a centre of controversy as its priests tried to introduce ritualistic worship and furnishings. In 1870 the church was extended by the addition of a north aisle and an enlarged chancel to assist ritualism. The day it re opened vestments were introduced. The wonderful blue Rood Screen is made of wrought iron and dates from 1872. It has the image of Christ on its central cross - a symbol that created much controversy when it was erected. In the north aisle are fragments of early glass by Kempe - the rest having been destroyed in a fire in 1996. Nearby is the octagonal font which is fifteenth century and came from one of the Norfolk churches that was demolished due to the incursion of the sea. In a county full of medieval brasses it is interesting to record three small Victorian examples here, to a priest, a sacristan and a nun.
St Peter, Folkestone, Kent
Heritage weekend now last two weekend and maybe up to four, or more, weekday, meaning that I had the chance to visit some I missed the week before.
The write up on the heritage website sounded interesting, so we were at the door of St Peter just after ten.
After renovation, required when it was discovered that the white paint used inside was not allowing the bricks to breath, upon its removal, this fantastic brickwork was uncovered, and the decision by English Heritage not to put a new coat of paint on, and allow the multi-coloured bricks to be seen.
The font was pointed out, as this, it had been thought, been rescued from a Norfolk church about to be consumed by the sea. Some research has shown the font to have been from St Peter Southgate in Norwich, after the vicar in 1909 saw it in the porch of St Etheldreda's in the same city.
A true Victorian church, now revealed as it's designer and builders would have seen it.
------------------------------------------
High on the East cliff overlooking the harbour is a remarkable group of school and church. St Peter's is a shrine of peace and tranquillity and has a real sense of holiness. Built to serve the growing community of the resort, it was originally designed by Richard Hussey in 1862. For the next few years the church became a centre of controversy as its priests tried to introduce ritualistic worship and furnishings. In 1870 the church was extended by the addition of a north aisle and an enlarged chancel to assist ritualism. The day it re opened vestments were introduced. The wonderful blue Rood Screen is made of wrought iron and dates from 1872. It has the image of Christ on its central cross - a symbol that created much controversy when it was erected. In the north aisle are fragments of early glass by Kempe - the rest having been destroyed in a fire in 1996. Nearby is the octagonal font which is fifteenth century and came from one of the Norfolk churches that was demolished due to the incursion of the sea. In a county full of medieval brasses it is interesting to record three small Victorian examples here, to a priest, a sacristan and a nun.