View allAll Photos Tagged ChristChild
and in a constant state of awakening Everlong
with glimpses sometimes of crystal clarity
and other times wondering
and wandering
The choir of the Moritzkirche in Augsburg, the interior of which was redesigned by John Pawson from 2008 to 2013.
The church was almost completely destroyed in the night of bombing from February 24 to 25, 1944, and then only provisionally rebuilt. The minimalist redesign by the British star architect John Pawson is somewhat controversial, but also an attraction for tourists and photographers.
www.johnpawson.com/works/moritzkirche
de.wikipedia.org/wiki/St._Moritz_(Augsburg)
Im 1. Österreichischen Weihnachtsmuseum in Steyr gibt es eine Erlebnisbahn. Die Fahrt war ähnlich abenteuerlich wie auf der Hochschaubahn ! ;-) Die Sessel legten sich in den Kurven plötzlich nach hinten oder auch nach vorne... Dafür bekamen wir Weihnachtsszenen mit Puppen zu sehen, die Weihnachten in verschiedenen Ländern zeigten, singende Engel, die himmlische Back- und Bastelstube...
At the 1st Austrian Christmas Museum in Steyr there is an adventure rail. The ride was similar like a ride on a rollercoaster ! ;-) In the curves the chairs moved suddenly backwards or forwards... We got to see Christmas scenes with dolls, which showed Christmas in different countries, singing angels, the heavenly bakery and workshop...
To our mothers .... the divine mother, our earthly mother, all those who have been and are yet to come. We honour you.
To Queen Elizabeth II who departed this earthly plane on this day, in remembrance of the qualities that you radiated.
Rest in Peace.
photo rights reserved by Ben
In the heart of Skopje, near the Old Bazaar, stands the Church of the Ascension of Jesus Voznesenie Hristovo. From the outside it looks simple and modest, but inside awaits a world full of devotion and art. The church was built in the 16th century and has been restored several times after earthquakes and fires. The most impressive feature is the monumental iconostasis, a masterpiece of 19th-century local Orthodox woodcarvers. Within the richly carved wooden frame shine icons of Christ, saints, and above all the Mother of God holding the Christ Child. This particular icon radiates tenderness and strength, with a golden background symbolizing the heavenly light. The icons, framed by delicate woodcarving, tell a story of faith, art, and history. Together with the gilded cross above the iconostasis and the angel frescoes on the ceiling, the interior forms a mystical space of silence and prayer. In the garden of the church rests the national hero Goce Delčev, a symbol of the Macedonian struggle for independence, giving this sanctuary not only religious but also national significance. In this photo, the intensity of the Marian icon is beautifully captured: an image both tender and powerful, emphasizing the hidden jewel character of the Ascension Church.
Inside the Church of the Ascension of Jesus in Skopje, the Mother of God with the Christ Child shines from the richly carved iconostasis. Surrounded by golden light and framed by intricate woodwork, this sacred image reflects both tenderness and power — a true hidden jewel of Macedonian faith and tradition.
In het hart van Skopje, vlak bij de oude bazaar, ligt de Church of the Ascension of Jesus Voznesenie Hristovo. Van buiten eenvoudig en bescheiden, maar binnen wacht een wereld vol devotie en kunst. De kerk werd in de 16e eeuw gebouwd en herhaaldelijk gerestaureerd na aardbevingen en branden. Het meest indrukwekkende element is de monumentale iconostase, een meesterwerk van lokale orthodoxe houtsnijwerkers uit de 19e eeuw. Tussen het rijk versierde houtsnijwerk schitteren iconen van Christus, heiligen en vooral Maria met het Christuskind. Dit specifieke icoon toont de Moeder Gods die haar Zoon liefdevol vasthoudt, omgeven door een gouden achtergrond die symbool staat voor het hemelse licht. De iconen, omlijst door fijn houtsnijwerk, vertellen een verhaal van geloof, kunst en geschiedenis. Samen met de vergulde kruis boven de iconostase en de engelenfresco’s op het plafond vormt dit interieur een mystieke ruimte van stilte en gebed. In de tuin van de kerk rust bovendien de nationale held Goce Delčev, symbool van de Macedonische onafhankelijkheidsstrijd, waardoor dit heiligdom niet alleen religieuze maar ook nationale betekenis draagt. Op deze foto komt de intensiteit van de Maria-icoon prachtig naar voren: een beeld dat tegelijk teder en krachtig is, en dat de verborgen juweel-sfeer van de Ascension Church onderstreept.
Nahe Steyr in Oberösterreich liegt Christkindl mit seinem Postamt, das zugleich auch ein Hotel ist. Im Postamt kann man seine Weihnachtspost mit einem Sonderstempel versehen lassen.
Near Steyr in Upper Austria is Christkindl (Christ Child) with its post office, which is also a hotel. At the post office your Christmas post can be stamped with a special postmark.
Stars o'er the lake shine so bright,
The forest reflects holy light,
The Christchild is coming tonight!
The Kaiserkapelle of the grand Imperial Castle overlooking Nürnberg has an austere romanesque architecture graced by a beautiful Crucifix (perhaps by Veit Stoß [c.1447-1533]). Contemplating it, I thought, too, of the pretty Daisy Fleabane, Erigeron sp., I'd just photographed at the foot of the Castle. Its purity - white as the Crucifix - especially in the Renaissance often took the place of Our Lady's famous Lily and it also signified the pureness of the Christ Child. In this photo it's being visited by a flower wasp. And that brought to my mind the first descriptor in 1791 of a Polistes wasp (www.flickr.com/photos/87453322@N00/35569194160/in/photoli...) and an expert on wasps generally, Johann Ludwig Christ (1739-1813).
PS Internet connection in my hotel is quite bad, so please bear with me.
GROUP: MACRO MONDAYS
THEME: TRADITION
SUBJECT: MANGER
(not quite 2.5" horizontally)
TRADITION
from Fiddler on the Roof
www.youtube.com/watch?v=gRdfX7ut8gw&t=5s
Christmas decorations are done on the weekend after Thanksgiving EXCEPT for the Creche. This happens on the evening a week before Christmas Eve (last night) accompanied by the singing of O Come, O Come, Emmanuel.
MERRY CHRISTMAS MY FRIENDS!
Misión San José del Cabo is a twin spire Jesuit mission church founded in 1730 and built in 1840 on the corners of Hidalgo and Zaragoza streets in San Jose del Cabo Mexico. San José del Cabo is a colonial town with the flavor and colors of Old México located in southern Baja California Sur state twenty miles northeast of Cabo San Lucas. Print Size 13x19 inches. HFF.
This 14th Century madonna and child in Salisbury Cathedral was disposed of during the inconoclasm at the time of the Reformation and lost for centuries, before being found again during renovation works in the 1980s. It has reintroduced in the Trinity Chapel at the east end of the Cathedral since.
There is visible damage on the head of the Christchild, somehow a profound statement of the reality of the Incarnation; God made human in every respect as we are, subject to the travails and wounds of the world.
Misión San José del Cabo is a twin spire Jesuit mission church founded in 1730 and built in 1840 on the corners of Hidalgo and Zaragoza streets in San Jose del Cabo Mexico. San José del Cabo is a colonial town with the flavor and colors of Old México located in southern Baja California Sur state twenty miles northeast of Cabo San Lucas. Print size 8x10 inches.
This is a fresco or mural on a cave-wall of Virgin Mary enthroned, for whom archangels Michael and Gabriel show respect, as she holds Christ Child in her arms. The fresco lies outside and to the East of the sanctuary of a Virgin Mary’s very old church, nested within a cave 164 ft (50 m) above ground, on a lofty rock formation. The church dates back to 1328 or 1362 A.D., when it was part of an abbey (monastery). It is located 4½ miles (7 km) to the North of the village Vlachava near Meteora, Greece, at a position called Palaeócastro (Greek for Old Castle). Steps were carved out of the rock in 1937.
The name of the church is “Virgin Mary In A Cave” (Panaghía hē Spēlaeōtissa) or “Virgin Mary at Mēkanē” (Παναγία ἡ Σπηλαιώτισσα ἢ τῆς Μήκανης), but the locals simply call it Palaeopanayiá (Palaeopanaghiá, Παλαιοπαναγιά). Palaeopanayiá is dependent on St. Stephen’s monastery (Meteora).
Meteora is the name of the group comprising many impressive and lofty rock formations: The height of the sandstone megaliths ranges between 1,000-2,067 ft (300-630 m). The rock masses which were formed 60 million years ago are geologically unique and listed in UNESCO world heritage sites.
A detailed view of a richly decorated Baroque altar within the Wallfahrtsbasilika St. Georg in Walldürn, Germany. The altar is constructed from polished reddish-brown and black marble with intricate gold detailing and fluted columns. At its center is a large, arched painting depicting the Virgin Mary holding the Christ Child, surrounded by other figures. Above the painting, a silver-colored wreath with golden rays forms a halo-like motif. Two white statues of angels with golden wings are positioned on either side of the altar. On the altar table, several white candles are arranged alongside small potted green plants and a wooden statue of a saint, possibly a bishop, holding a staff. A small sign with text is also visible. The floor in the foreground transitions from a wooden parquet to a patterned tiled floor. The overall style is ornate and religious.
Misión San José del Cabo is a twin spire Jesuit mission church founded in 1730 and built in 1840 on the corners of Hidalgo and Zaragoza streets in San Jose del Cabo Mexico. San José del Cabo is a colonial town with the flavor and colors of Old México located in southern Baja California Sur state twenty miles northeast of Cabo San Lucas. San Jose was the southernmost of the Jesuit missions established during the colonial period in the Baja Californias. Photo by my wife Barb, print Size 13x19 inches.
Seated Infant Christ, Mechelen, ca. 1520. At an exhibition in Catharijne Convent, Utrecht.
Late Gothic sculptures of the Christ Child are numerous and exist in various forms. They owe their existence to the increasing veneration of the Christ Child by the Franciscan and Dominican orders in the thirteenth century.
A very Happy Christmas and a Prosperous New Year to all my Flickr friends!
Taken at Newport Cathedral (St Woolos Cathedral)
Two young women pose with the images of Baby Jesus they have brought to church to be blessed by the priest.
(This is the one-year anniversary of this image. I thought I would bring it around again. This image is my most popular, and probably my most favorite, too. Since I posted it, it has been featured in a variety of places including websites and magazines. The latest magazine to feature this image is a publication produced by a group of monks in Malta.
With no further ado, I present this image and its sentiments to all my Flickr friends, and to those friends that I have never met.)
~~~~~~~~~~~~~~~~~~~~~~~~
There is this lovely Christmas song about an orphan girl named, Maria, who finds a bird with a broken wing, It's called, "The Gift."
Maria uses the little money she has to care for the damaged bird, and then on Christmas eve, she brings the bird as her offering to the Christ child's manger at her church. But she sneaks in so no one can see her pitiful offering, "for her gift was unworthy of Him," according to the song's lyrics.
But the Lord accepts her gift like none other, and as a result, Maria is treated to "the vey first Nightingale's song."
The song makes me weep every time I hear it. For how often do we give a gift that is either denied, or is badly accepted? Like our love?
The song has been whispering about in my head for days, and I wanted to shoot an image that would portray its poignancy.
I asked my 11-year old granddaughter if she would help me capture the spirit of Maria. She loves drama, so she played along.
We lit a fire, set up some lights, and put my Canon 50D up on my tripod. She pulled on an April Cornell petticoat and dress, and we tied a headscarf around her hair.
All we had for a bird was this creamy dove ornamanet, so it had to do. But with the bird in her hands, she couldn't hold the deflector to glance light into her face, so we hollered for her younger brother; he's 8.
"Do you want to be our lighting assistant?" we asked. He studied the situation for a moment, grabbed the deflector, and in spite of the heat from the fire, he went straight to work. He even became somewhat of a pro, as he watched for and eliminated shadows. He is now very proud to call himself a lighting assistant.
And my granddaughter, the love of my life (well one of them) is so pleased with this image. You should have seen her smile.
I dedicate this image of my heart to my grandkids, and to grandkids the world over, especially those who have never been allowed to spend time with their grandparents.
Unfortunately, there are many situtaions like that, and how sad it is for both grandchild and grandparent to be denied the joy of togetherness; a togetherness that only a grandchild and grandparent can know. Some refer to it as the "living death."
I thank the Lord every day for the time I get to spend with at least some of my wonderful grandchildren.
To me, they are as precious as the bird Maria offered to the Lord.
"For her gift was unworthy of Him."
Here is a link to the song's lyrics: www.oldielyrics.com/christmas/the_gift.html.
And thanks to my most thoughtful friends, Bill (Pixellie by Flickr name) and Jill, here is a link to the song as sung by Aselin Debison. uk.youtube.com/watch?v=XODganqCxB8
Wishing all of you a very peaceful Christmas. May you know the joy of giving and receiving, acceptance and of love.
May you experience the joy of little Maria as you offer your gift, no matter how humble, to the Lord.
Merry Christmas!
Willow Tree 2022
Every year our hearts are warmed as we decorate our home with the Nativity. Purchased over a number of years our collection has grown and is admired by many. We love it.
Italian Renaissance sculptor Andrea della Robbia (1435-1525) was the nephew and disciple of sculptor Luca della Robbia (1400-1482), who is noted for his colorful, tin-glazed terracotta statuary, a technique that he invented and passed on to his nephew Andrea. Among Andrea’s earliest iconic creations, thie 'Virgin and Child' (created 1490-1495} shows the Virgin Mary tenderly supporting the Christ Child, who solemnly raises his hand in blessing. Modeled in high relief with palpable naturalism, the lifesize figures seem to share our physical space while God the Father and a host of angels look on from heaven.
Andria carried on the production of the enamelled reliefs on a much larger scale than his uncle Luca had ever done; he also extended its application to various architectural uses, such as friezes and to the making of lavabos, fountains and large retables.
"Putti" are representations of chubby, often winged, infant boys, primarily in Renaissance and Baroque European art. Derived from ancient classical mythology, they initially symbolized spirits or deities like Cupid, but were revived in the Renaissance to represent innocence and serve in decorative roles, sometimes with Christian meanings like angels.
This Summer the North-Holland city of Alkmaar is caught up in religious throes. Among the slogans are 'Climb to Heaven', gracing the St Laurentius Church, and 'Pilgrimage (Bede-vaart)', a series of sculptures placed on the former bulwarks of the city.
So we took the train up to Alkmaar from Amsterdam - a mere half hour or so - to look at Maarten van Heemskerck's (1498-1574) altarpiece (1538-1542) in the Church.
In the wake of Alkmaar turning Protestant 1570/1572 there was no longer need for such a Romish thing. But the city's purse-minded Calvinist government couldn't bear destroying good money, so the artwork was sold to Sweden in 1581. Now the cathedral of Linköping has seen fit to allow the St Laurentius Church to display what was once its own masterpiece.
I've long been an admirer of Van Heemskerck, and I was utterly 'blown away' by this amazing art. But it would be tiresome for Flickr to allow me to wax on...
Anyway, here in the inset is a Shepherd on that altarpiece clothed in perhaps a wolf's skin to signify he saved his sheep. He's bending solicitously over the Christchild, a Sheepsaver-to-be...
And then on those bulwark's 'Pilgrimage' is this fabulous Eva (2018) by Elisabet Stienstra (1967-). The connection is clear, at least in my mind. The Virgin, whose Issue our Shepherd is admiring, in Biblical Lore is an immediate descendant of Eve. In this photo she's directly gazing at Wolfkiller Shepherd who's admiring her Fruit. And let's not even speculate on her Broomstick!
Ah! religious mysticism!
Fröhliche Weihnachten – Merry Christmas - Buon Natale - ¡Feliz Navidad - Joyeux Noël - God Jul - Feliz Natal - Bon Nadal - Καλά Χριστούγεννα - Vesel božič
Mit diesem Bild möchte ich all meinem flickr-Freunden herzlichen danken für eure tollen Bilder und eure Begleitung mit netten, ermutigenden und humorvollen Kommentaren, favs und mails.
With this picture I like to thank all my flickr friends for your great pictures and your support with nice, encouraging and humorous comments, favs and mails.
Jesuskind, das Kreuz betrachtend - im Bayerischen Nationalmuseum, Ton modelliert, gebrannt und farbig gefasst, Neapel, 1. Hälfte des 18. Jhts.
Infant Jesus, looking at the cross - Infant Jesus in the Bavarian National Museum, modeled of potter´s clay, fired and painted, Naples, 1Half of the 18th Century.
I have a short break for some days. Wish you happy holidays!
I appreciate your visits, faves, constructive comments and invites! Thank you!
Max Ernst (1891-1976)
The Virgin Spanking the Christ Child in front of three witnesses: André Breton, Paul Éluard and the painter (1926)
Museum Ludwig, Cologne
North Rhine-Westphalia, Germany 28.09.2021
Ein Hauch von Grün
Max Ernst (1891-1976)
Die Jungfrau züchtigt das Jesuskind vor drei Zeugen: André Breton, Paul Éluard und dem Maler (1926)
Museum Ludwig, Köln
Nordrhein-Westfalen, Deutschland 28.09.2021
Stained glass windows, depicting the Virgin Mary and the Christ Child with paratroopers falling in the background.
I have had the good fortune of discovering the artist Suzanne Mancuso through my interactions here at Flickr. Her paintings are honest and vibrant and they continue in the tradition of our great folk artists. Please do yourself a favor and visit Suzanne's etsy page. There will be something there for everyone.
Giovanni Francesco da Rimini
(c. 1465), tempera, wood, 89 x 71,7 cm
Giovanni Francesco da Rimini, 1465. Tempera sur bois, 89x71,7cm
The real title of this painting is undoubtedly "Madona liber della febri" (Madonna who gets rid of fever), according to the inscription appearing on each side of the virgin, at the top of the image. It was probably originally part of a triptych or polyptych. It is very likely that the panel was sawn off at the bottom in the 17th century and reduced to its present size, so it could be used as an independant devotional picture, in the wonderful reliquary frame that was made specially for this painting and in which it now stands. Everything suggests that this work was originally in Bologna or its surroundings. It was later in the chapel of the Hompoš castle, near Hoče in Styria, which was the property of the Pallavicini family. Giovanni Antonio Fibbia Pallavicini donated it to the parish of Hoče in 1911. In 1926, the Narodni Muzej of Ljubljana acquired it and it came to the Narodna Galerija of Ljubljana in 1934.
The profile and the decoration of the frame are characteristic of what was created in Bologna in the first half of the 17th century. The main part of the frame has alternately hexagonal and oval openings acting as small reliquaries. At the bottom of the frame, there is a sort of additional horizontal frame with two openings in the shape of six-pointed stars surrounded by a rich plant decoration, also containing relics, and three other openings where small effigies appear, painted on copper, also dating from the beginning of the 17th century and representing, from left to right, Saint Clare, Saint Luke painting the Virgin Mary and Saint Francis of Assisi holding a book.
The painter Giovanni Francesco da Rimini was born in Rimini in 1441 and died in Bologna in 1469. He began to work in Bologna in 1459.
Le titre réel de cette peinture est sans nul doute "Madona liber della febri" (Madone libératrice de la fièvre), au vu de l'inscription figurant de chaque côté de la vierge, en haut de l'image. Elle faisait probablement initialement partie d'un tryptique ou d'un polyptique. Le bas du panneau a dû être scié au 17ème siècle, réduisant l'image à sa taille actuelle pour qu'elle devienne un objet de dévotion indépendant, adaptée au superbe cadre-reliquaire spécialement créé pour elle et où elle est désormais présentée. Tout porte à croire que cette œuvre était située initialement à Bologne ou dans ses environs. Elle se trouva par la suite dans la chapelle du château de Hompoš près de Hoče en Styrie, lequel était la propriété de la famille Pallavicini. Giovanni Antonio Fibbia Pallavicini en fit don à la paroisse de Hoče en 1911. En 1926, le Narodni Muzej de Ljubljana en fit l'acquisition. Il vint à la Narodna Galerija de Ljubljana en 1934.
Le profil et la décoration du cadre sont caractéristiques de ce qui se faisait à Bologne à la première moitié du 17ème siècle. La partie principale du cadre comporte des ouvertures alternativement hexagonales et ovales faisant fonction de petits reliquaires. Au bas du cadre, se trouve une sorte de cadre supplémentaire comportant deux ouvertures en forme d'étoiles à six branches entourées d'une riche décoration de motifs végétaux, contenant elles aussi des reliques, et trois autres ouvertures où apparaissent de petites effigies peintes sur cuivre, datant également du début du 17ème siècle et représentant, de gauche à droite, Sainte-Claire, Saint-Luc peignant la vierge Marie et Saint-François d'Assise tenant un livre.
Le peintre Giovanni Francesco da Rimini est né à Rimini en 1420 et mort à Bologne en 1469. Après une présence à Padoue entre 1441 et 1444, il travailla à Bologne à partir de 1459.
photo rights reserved by Ben
The Svetitskhoveli Cathedral in Mtskheta, Georgia, is one of the holiest and oldest churches in the country. Built between 1010 and 1029, this imposing cathedral is a masterpiece of medieval Georgian architecture and is part of the UNESCO World Heritage Site. The fresco in this image is above an entrance to the Svetitskhoveli Cathedral in Mtskheta, Georgia — one of the country’s most important churches. This particular fresco depicts a classic Deësis scene, a common motif in Eastern Orthodox art. At the center sits the Virgin Mary, depicted solemnly and frontally, with the Christ Child on her lap. On either side of her are two archangels, Gabriel and Michael, who flank her in reverent poses. The Virgin Mary is depicted as the Heavenly Queen and mediator between heaven and earth, a central figure in Orthodox spirituality. The colors and style of the fresco are typical of the Byzantine art tradition, with golden halos, stylized robes, and a flat, symbolic rendering rather than naturalism. Frescoes like these above the entrance symbolize the transition from the mundane to the sacred — a visual blessing for those entering the church. They remind visitors that they are entering a sacred space under the protective gaze of Mary and the heavenly powers
This fresco was painted around the 11th or 12th century, around the time that Svetitskhoveli Cathedral itself was completed between 1010 and 1029. Although precise dating can be difficult, stylistic features — such as the Byzantine composition, the design of the figures, and the use of color — point to this period. Many of the original wall paintings in the cathedral date from the 11th to the 13th centuries, with later restorations in the centuries that followed. This means that you are looking at an almost 1,000-year-old work of art, which can still be admired in its original place above the entrance. It is therefore not only of religious importance, but also a valuable piece of cultural heritage.
De Svetitskhoveli-kathedraal in Mtskheta, Georgië, is een van de heiligste en oudste kerken van het land. Deze imposante kathedraal, gebouwd tussen 1010 en 1029, is een meesterwerk van middeleeuwse Georgische architectuur en maakt deel uit van het UNESCO-werelderfgoed. De fresco op deze afbeelding bevindt zich boven een ingang in de Svetitskhoveli-kathedraal in Mtskheta, Georgië — één van de belangrijkste kerken van het land. Deze specifieke fresco toont een klassieke Deësis-scène, een veelvoorkomend motief in de Oosters-orthodoxe kunst. In het midden zit de Maagd Maria, plechtig en frontaal afgebeeld, met het Christuskind op haar schoot. Aan weerszijden van haar staan twee aartsengelen, Gabriël en Michaël, die haar flankeren met eerbiedige houding. De Maagd Maria wordt afgebeeld als Hemelse Koningin en bemiddelaar tussen hemel en aarde, een centrale figuur in de Orthodoxe spiritualiteit. De kleuren en stijl van het fresco zijn typisch voor de Byzantijnse kunsttraditie, met gouden haloes, gestileerde gewaden, en een vlakke, symbolische weergave in plaats van naturalisme. Dit soort fresco's boven de ingang symboliseren de overgang van het wereldse naar het heilige — als een visuele zegen voor wie de kerk betreedt. Het herinnert bezoekers eraan dat zij een heilige ruimte binnengaan onder het beschermend oog van Maria en de hemelse machten. Deze fresco is geschilderd rond de 11e of 12e eeuw, de tijd dat de Svetitskhoveli-kathedraal zelf werd voltooid tussen 1010 en 1029. Hoewel precieze datering lastig kan zijn, wijzen stijlkenmerken — zoals de Byzantijnse compositie, de vormgeving van de figuren, en het kleurgebruik — op deze periode. Veel van de oorspronkelijke muurschilderingen in de kathedraal stammen uit de 11e tot 13e eeuw, met latere restauraties in de eeuwen daarna. Dit betekent dat je hier kijkt naar een bijna 1.000 jaar oud kunstwerk, dat nog steeds op zijn oorspronkelijke plek boven de ingang te bewonderen is. Het is dus niet alleen religieus van belang, maar ook een waardevol stuk cultureel erfgoed.
St Mary, Ickworth, Suffolk
The church and churchyard are marooned on the National Trust's Ickworth estate. A pleasing and interesting interior, the result of three major restorations in the 1780s, 1830s and 1910s.
The Herveys, Earls and Marquesses of Bristol, a family with more than their fair share of colourful characters, are buried in the vault. The church was declared redundant in 1984 and bought by the Hervey family, but it lay closed, abandoned and near-derelict until the current Marquess oversaw a major restoration between 2010 and 2012, costing well over a million pounds. The church is now usually open every day.
I went in to Kansas City yesterday to run some film through my recently acquired Zeiss Ikon Contina III camera. Here an image of the statue of Mary and the Christ Child at the Cathedral of the Immaculate Conception.
The Cathedral is located on one of the highest points in Kansas City, and it has a golden dome that is very distinctive and easily visible from many locations throughout the city.
This image captured using expired (5/24) Foma 400 film and developed with Xtol at 1:1. I plan to revisit this location at a later date to shoot some color film.
This camera has a zone focus lens that you must dial in the distance to insure correct focus. This is a challenging task without a rangefinder, but this camera has an aide that I used for this image. If you set the camera on f16 and 15 feet (which is marked in red), everything from 15 feed until infinity will be in focus.