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I hadn't seen this memorial statue on a previous visit to this cemetery. It's a striking statue and really beautiful.
It was a foggy day leaving the background sky white as you see it here.
Santa Barbara Cemetery, Santa Barbara, California.
It was great when it all began.....
I think it was September 2011 when I first visited St Olave. It was an Open House London weekend, and I had not been inside a City of London church before. I was soon to discover this was one of many.
I think since then I have photographed inside and/or inside, or the remains of some 48 City Churches, but this is still something special.
A Norfolk Village church in the City I have heard it described, it is certainly a box of delights, with a whole lot of interesting things, memorials and even a model of a lightship inside.
It nestles down a quiet street near to Fenchurch Street, and seems to be open whenever I walk by. This time I entered through the door on the street, much better to enter through the churchyard, through the macabre gate then down steps into the porch.
Once inside I saw someone asleep in the pews, surrounded by bags of her possessions. I tried not to wake her.
And yet, the church was filled with strong sunlight, tinted after passing through the stained glass.
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St Olave’s survives as a rare example of the mediaeval churches that existed before the Great Fire of London in 1666. The flames came within 100 metres or so of the building but then the wind changed direction, saving a number of churches on the eastern side of the City.
The church was severely damaged in the bombing of World War II, but enough of the fabric and original masonry was spared to permit the building to be lovingly restored in the 1950s and to continue its life and work into the second half of the 20th century and now the 21st.
People entering St Olave’s for the first time are frequently surprised to find the timeless atmosphere of a modest ancient parish church in the heart of the modern City and this surprise more often than not yields to increasing delight as they explore its interior. This truth about St Olave’s was well expressed by The Revd Augustus Powell Miller, the Rector who saw through the post-war restoration:
'Often we remind ourselves that we are the heirs of nine centuries of Christian worship on this hallowed site. For all those long years… the praises of God and the prayers of His people have been ascending to the Throne of grace from this place. The very mental and spiritual atmosphere which you breathe as you step out of Hart Street into this Sanctuary has been gradually created by the worshippers of the past. And many times in recent days when visitors have come in to see the restored church they have confessed to having paused; they entered to view what the craftsmen had wrought but had to own their consciousness of its hallowed atmosphere. "Other men have laboured" and we, in the mercy of God have been given the privilege of "entering into their labours." In the quiet and silence of this Sanctuary we can know that "we are compassed about with a great cloud of witnesses," and that the past mingles with the present and can inspire us for whatever tasks the future has in store for us.'
www.sanctuaryinthecity.net/history-architecture/4588220829
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St Olave Hart Street is a Church of England church in the City of London, located on the corner of Hart Street and Seething Lane near Fenchurch Street railway station.
John Betjeman described St Olave's as "a country church in the world of Seething Lane."[1] The church is one of the smallest in the City and is one of only a handful of medieval City churches that escaped the Great Fire of London in 1666.[2] In addition to being a local parish church, St Olave's is the Ward Church of the Tower Ward of the City of London.
The church is first recorded in the 13th century as St Olave-towards-the-Tower, a stone building replacing the earlier (presumably wooden) construction.[4] It is dedicated to the patron saint of Norway, King Olaf II of Norway, who fought alongside the Anglo-Saxon King Ethelred the Unready against the Danes in the Battle of London Bridge in 1014. He was canonised after his death and the church of St Olave's was built apparently on the site of the battle.[2] The Norwegian connection was reinforced during the Second World War when King Haakon VII of Norway worshipped there while in exile.
Saint Olave's was rebuilt in the 13th century and then again in the 15th century. The present building dates from around 1450. According to John Stow's Survey of London (1603), a major benefactor of the church in the late 15th century was wool merchant Richard Cely Sr. (d. 1482), who held the advowson on the church (inherited by his son, Richard Cely, Jr.). On his death, Cely bequeathed money for making the steeple and an altar in the church. The merchant mark of the Cely family was carved in two of the corbels in the nave (and were extant until the bombing of World War II). No memorial to the Celys now remains in the church.[5]
Saint Olave's survived the Great Fire of London with the help of Sir William Penn, the father of the more famous William Penn who founded Pennsylvania, and his men from the nearby Naval yards. He had ordered the men to blow up the houses surrounding the church to create a fire break.[6][7] The flames came within 100 yards or so of the building, but then the wind changed direction, saving the church and a number of other churches on the eastern side of the City.[3]
The church was a favourite of the diarist Samuel Pepys, whose house and Royal Navy office were both on Seething Lane. A regular worshipper, he referred to St. Olave's in his diary affectionately as "our own church"[8] In 1660, he had a gallery built on the south wall of the church and added an outside stairway from the Royal Navy Offices so that he could go to church without getting soaked by the rain. The gallery is now gone but a memorial to Pepys marks the location of the stairway's door. In 1669, when his beloved wife Elisabeth died from fever,[9] Pepys had a marble bust of her made by John Bushnell and installed on the north wall of the sanctuary so that he would be able to see her from his pew at the services. In 1703, he was buried next to his wife in the nave.[2][10]
However, it was gutted by German bombs in 1941 during the London Blitz.[11] and was restored in 1954, with King Haakon VII of Norway returning to preside over the rededication ceremony, during which he laid a stone from Trondheim Cathedral in front of the sanctuary.
Between 1948 and 1954, when the restored St Olave's was reopened, a prefabricated church stood on the site of All Hallows Staining. This was known as St Olave Mark Lane. The tower of All Hallows Staining was used as the chancel of the temporary church.
The church was designated a Grade I listed building on 4 January 1950.[12] St Olave's has retained long and historic links with Trinity House and the Clothworkers' Company.
St Olave's has a modest exterior in the Perpendicular Gothic style.[1] with a somewhat squat square tower of stone and brick, the latter added in 1732. It is famous for the macabre 1658 entrance arch to the churchyard, which is decorated with grinning skulls.[13] The novelist Charles Dickens was so taken with this that he included the church in his Uncommercial Traveller, renaming it "St Ghastly Grim".[14]
The interior of St Olave's only partially survived the wartime bombing; much of it dates from the restoration of the 1950s. It is nearly square, with three bays separated by columns of Purbeck limestone supporting pointed arches. The roof is a simple oak structure with bosses. Most of the church fittings are modern, but there are some significant survivals, such as the monument to Elizabeth Pepys[15] and the pulpit, said to be the work of Grinling Gibbons. Following the destruction of the organ in the blitz, the John Compton Organ Company built a new instrument in the West Gallery, fronted by a large wooden grille; this organ, and the Rectory behind, is ingeniously structured between church and tower.
In the tower, there is a memorial with an American connection. It honors Monkhouse Davison and Abraham Newman, the grocers of Fenchurch Street who shipped crates of tea to Boston in late 1773. These crates were seized and thrown into the waters during the Boston Tea Party, one of the causes of the American War of Independence.[10]
Perhaps the oddest "person" said to be buried here is the "Pantomime character" Mother Goose. Her burial was recorded by the parish registers on 14 September 1586.[16] A plaque on the outside commemorates this event. The churchyard is also said to contain the grave of one Mary Ramsay, popularly believed to be the woman who brought the Plague to London in 1665.[17] The parish registers have the record of her burial, which was on 24 July 1665. Thereafter, in the same year, the victims of the Great Plague were marked with a 'p' after their names in the registers.
On the east side of St Olave's, there is a stained glass window depicting Queen Elizabeth I standing with two tall bells at her feet. She held a thanksgiving service at St Olave's on Trinity Sunday, 15 May 1554, while she was still Princess Elizabeth, to celebrate her release from the Tower of London.[19] She had originally given bell-ropes of silk to the All Hallows Staining Church because its bells had rung the loudest of all London bells on the day of her freedom, but, when All Hallows Staining was merged with St. Olave's in 1870, the bell-ropes went with it.[20]
On 11 May 1941, an incendiary bomb was dropped by the Luftwaffe on the tower of the church. The tower, along with the baptistry and other buildings, was "burned out" and the furnishings and monuments destroyed. The heat was so great that even the peal of the eight bells were melted "back into bell metal". In the early 1950s, the bell metal was recast into new bells by the same foundry that created the original bells – the Whitechapel Bell Foundry, in 1662 and 1694.[21] The new bells were then hung in the rebuilt tower.
There are currently nine bells at St Olave's Hart Street consisting of one sanctus bell and eight bells hung for full circle ringing, with the tenor of the eight weighing 11-3-23.[22] The bells are usually rung for practices, which take place on Thursday evenings between 7:00pm and 8:30pm during term time, and for Sunday service between 10:15am and 11:00am on the 1st and 3rd Sundays in the month.[23] The bells are currently rung by the University of London Society of Change Ringers (ULSCR) who have a healthy band consisting of past and present members of London Universities.
en.wikipedia.org/wiki/St_Olave_Hart_Street
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A medieval church set in the surprisingly quiet and narrow streets near Fenchurch Street station. One of the most pleasing of the City of London churches, both in its setting and in its interior. It was far enough east to escape the ravages of the Great Fire, much to the relief of Samuel Pepys, whose parish church this was and who worked in the Navy Office next door. In the 1930s Betjeman described it as seeming like an East Anglian country parish church on holiday in the heart of the City. The church did not, alas, survive the Blitz similarly unscathed, but the exterior and setting today appear remarkably similar to postcards and photographs of the 1920s, set on the corner of Hart Street and Seething Lane with a polite little public garden behind. Don't miss the grinning skulls above the gateway.
Since the terrorist bombing of St Ethelburga in 1993, St Olave is the smallest surviving intact medieval church in the City. The interior has been carefully restored and perhaps retains something of its original atmosphere - indeed, the post-war restoration got rid of the worst of the middle-brow 19th Century restorations by Arthur Blomfield and Ewan Christian. Furnishings were brought out of store from All Hallows Staining and St Katherine Coleman, two churches in adjacent streets which had been demolished for building work in the 19th Century. The glass is now all post-war and by two artists whose reputations for fine work are firmly established, Arthur Buss and John Hayward.
there is an amazing amount of isolation on the way to Big Bend. the irony of the quiet is that it seems to loud. The road untraveled sits in abeyance just waiting to scream with a car that has never know such speed -9
Ubicación: Paseo de los Álamos
Autores: Víctor Hevia y Manuel Álvarez Laviada
Año de instalación: 1933
La obra y sus autores: A la muerte del empresario José Tartiere Lenegre (Bilbao, 21 de noviembre de 1848-Lugones, 18 de abril de 1927), un grupo de amigos, socios y familiares, a través de una Comisión Pro-Monumento presidida por Nicanor de las Alas Pumariño y con Francisco Castañón, Eustaquia Fernández Miranda y Juan Antonio Onieva como vocales, impulsa la realización de un monumento en recuerdo de uno de los artífices de la industrialización asturiana, cuyo conjunto de realizaciones hizo posible un avance considerable de la región.
Pagado por suscripción popular, el monumento consta de una escultura en bronce, de tamaño algo superior al natural, que representa a José Tartiere en posición sentada sobre un pedestal de piedra al que se accede tras ascender un juego de escalinatas. Obra de Víctor Hevia, en su parte posterior éste esculpió una relieve con perfiles de obreros. Este cuerpo central está flanqueado por cuatro figuras de trabajadores, dispuestas, dos a dos, en sendos pedestales, siendo su autor Manuel Álvarez-Laviada.
El escultor Víctor Hevia nace en 1885 en Oviedo, en cuya Escuela de Artes y Oficios se forma, pasando posteriormente a ampliar sus estudios en la Escuela de Bellas Artes de San Fernando, en Madrid. Viaja por Italia, donde permanece por un periodo de tres años, y Francia, instalándose en su Asturias natal a partir de 1918, donde realizará buena parte de la mejor escultura pública de la que se puede disfrutar en la actualidad. Como exposiciones suyas, sólo consta la Nacional de Bellas Artes de 1915, donde obtiene la Tercera Medalla, según cuenta José Talavera Sotoca en el Diccionario de Pintores y Escultores Españoles del siglo XX. Víctor Hevia realizó la restauración del apostolado románico de la Catedral de Oviedo, obra que prácticamente quedó en ruinas después de la guerra civil de 1936. Falleció en Oviedo el 25 de noviembre de 1957.
Por su parte, el escultor Manuel Suárez-Laviada y Alzueta (Oviedo, 1894-Madrid, 1958), hijo del escritor y abogado Paulino Álvarez Laviada y hermano de Fernando, destacado autor teatral, fue el más internacional de los escultores asturianos de la primera generación del siglo XX, logrando grandes éxitos en ciudades europeas como París, Bruselas, Brujas y Gante. Profesor de Modelado en la Escuela de Bellas Artes de Madrid, en Asturias se encuentra una parte importante de su creación, entre ella, además del citado monumento, los dedicados a Evaristo Valle, Nicanor Piñole, Leopoldo Alas y Víctor Fleming, así como diversas esculturas en la Universidad Laboral de Gijón.
El personaje: José Tartiere Lenegre, tras cursar la carrera de ingeniero industrial en la Universidad de Barcelona, se viene de muy joven a vivir a Asturias, donde permanecerá hasta el resto de sus días. Su brillante trayectoria comienza con la instalación en Cayés (Llanera) de una fábrica de explosivos. Más tarde (1889) funda la Fábrica de Pólvoras de Lugones (Sociedad Santa Bárbara), que en 1895 se integraría en la Unión Española de Explosivos, cuya fundación también promueve. Posteriormente funda la Vasco-Asturiana de Arrigorriaga (Vizcaya), para la fabricación de productos químicos; la Vasco-Andaluza-Asturiana de Bonanza (Cádiz), de dinamita; en 1895, la Sociedad Industrial Asturiana Santa Bárbara (siderúrgicas de Moreda y Gijón, minas de Aller —Moreda y Santa Ana—, Fábrica de Metales de Lugones, minas de hierro en Bilbao, cobre en Teruel, Almería y Bajadoz), junto con Policarpo Herrero y la participación de capitalistas como Víctor Chávarri, Hermógenes G. Olivares, Anselmo González del Valle, Elías Masaveu y Florencio Rodríguez, entre otros. Además, participa en la constitución de Hulleras de Turón, funda el Banco Asturiano de Industria y Comercio (Oviedo, 1899), la compañía del ferrocarril Vasco-Asturiano —de la que llega a ser vicepresidente—, junto con otros empresarios vascos, y el diario La Voz de Asturias (1923); tiene participaciones en varias empresas, entre ellas la Compañía del Tranvía Eléctrico de Avilés, la Sociedad Telefónica de Asturias, el Banco Minero Industrial de Asturias, la factoría Aeronáutica Española de Getafe y la Compañía de Seguros La Estrella. Tras fundar con otros capitalistas la Sociedad Saltos de Agua de Somiedo (luego Hidroeléctrica del Cantábrico), en 1912 comienza la construcción del Salto de La Malva (Somiedo).
Por su labor en favor del progreso de Asturias, el rey le concede el título de Conde de Santa Bárbara de Lugones, en 1921. Además, en 1903 es nombrado «Hijo Adoptivo» de Oviedo y en 1924 recibe la insignia de la Legión de Honor otorgada por el Gobierno francés.
FUENTES: Ayuntamiento de Oviedo — www.VivirAsturias.com.
East window by Burlison & Grylls, c1906.
St Michael & All Angels church at Bugbrooke dates back mainly to the 13th & 14th centuries and is an attractive structure with a west tower and spire built of warm toned and richly patinated stone.
Inside the surfaces have been stripped back to the stonework though it retains more light than some, despite having much late Victorian glass. The chancel is a rather gloomier space adorned with memorial tablets to members of the Whitfield family.
The church is generally kept open and welcoming to visitors via a new entrance in the north porch.
The Dragontail as I head up Aasgard. The trail is really picking one of the many possibilities of the right path up.
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Go ahead and leave a comment about how you feel duped because you were searching for boobs or boobies on Flickr and alas, you find none on my photostream. :)
Foto de teste tirada com um Huawei ASCEND P7 para ter uma ideia das capacidades fotográficas deste smartphone Android.
Vê o nosso teste completo ao Huawei ASCEND P7 em www.revolucaodigital.net
|| Photo info: Taken 2015-12-23 with Canon EOS 5D Mark III, 35mm, ¹⁄₂₀₀ sec at f/2.0, focal length 35 mm, ISO 125. Copyright 2015 .
Our cluster of milkweed plants has lured the monarch butterflies to lay clutches of eggs, and several caterpillars have emerged to fatten up on their chosen food. Still with a few more leaves to eat, this one is getting close to pupation.
at the American Institute of Aeronautics and Astronautics’s ASCEND conference at Caesars Forum on Tuesday, Nov. 16, 2021, in Las Vegas. (Photo by David Becker)
The Pic Blanc cable car ascends to the 3300m summit, Alpe D'Huez.
Non-watermarked prints and licensing available on all images, contact: flanders.r.a@gmail.com