View allAll Photos Tagged MedievalChurch
Staying in the Pockerley area of Beamish , in this landscape St Helens Church , originally stood in Eston near Middlesbrough .
The church was due to be demolished due to vandalism until it was saved and rebuilt at the Museum.
This is a recreation of Vincent Van Gogh's bedroom, at 2, Place Lamartine, Arles, France.
Van Gogh painted it three times, in October 1888, in early September 1889 and in late September 1889. Though the paintings are similar, each is different. Roy Lichtenstein also re-created the painting with one of his own, based on the second version, in 1992.
At Van Gogh - The Immersive Experience, an exhibition held at York St. Mary's, York, UK.
This enables visitors to step inside the paintings, world and mind of Van Gogh.
It tells Van Gogh’s life and his creations through projections, recreations and interactive elements of his artworks around the Medieval Abbey exhibition space. Over 200 of his works are featured, but rather than remaining static, the huge projections of paintings come alive with digital animation and an emotive soundtrack.
It's brilliant!
The church of Sastamala in Karkku (dedicated to St. Mary) was built in the end of 15th century. This is a greystone churc.
Sastamalan keskiaikainen Pyhän Marian kirkko
Tämä Sastamalan Karkussa sijaitseva Pyhälle Marialle omistettu kirkko on rakenettu 1400 -luvun lopulla.
Tämä on harmaakivikirkko.
Cathedral of Pisa is a masterpiece of the Pisan Romanesque era. It was built around the middle of the 11th century. Currently the church is referred to as The Cathedral of Santa Maria Assunta as it was dedicated to her. The cathedral is evidence of the wealth possessed by the Republic of Pisa which was used to construct this magnificent cathedral.
The Church of San Giorgio Maggiore is on a similarly named small island across the waters from the Piazza San Marco in Venice. The first church was built here in the eighth century with a Benedictine monastery established in 982.
The present Renaissance basilica was mostly erected between 1565 and 1610.
St. Andrew's church, Minterne Magna
A small, late medieval church, St. Andrews' has an early 17c north chapel & a tower dated from around 1800.
It hurts to think I might not see you again
But I don’t think I can stay here anymore
I have waited patiently for so long
But it looks as though you have gone
I’ll be waiting in the church porch, you said
After the service, you know the one
But I think I might be mistaken
Or have I been misled?
But something doesn’t feel right
The light always stays the same
And nobody seems to see me
It’s as though all my colours have fled
I have been here every Easter
I’m pretty sure that’s what you meant
I am feeling a certain unease
Am I to be reincarnated instead?
I feel the same, I am the same
But maybe I look different to you
Maybe older, maybe wiser
Younger? Or just dead
Either way, I really have to go
I think I am running out of choices
That light is not going to last forever
And I might miss my chance to follow
Goodbye my love, I tried to wait
But maybe you will find me
I think there’s time, always time
For you to search tomorrow
I was on my way home here, cutting back through the porch that covers the walkway from the Old Parsonage to the North Entrance of the church of St.Mary's in Eastbourne, East Sussex, UK.
I stopped, thinking of all the people who must have arranged to meet at this place over the years.
To see more of my images and poems have a look at my website:
Santa Maria del Rosario (St. Mary of the Rosary), commonly known as I Gesuati, is an 18th-century Dominican church in the Sestiere of Dorsoduro, on the Giudecca Canal in Venice, Italy.
The classical-style building has a well-lit interior and is exceptional in preserving its original layout and Rococo decoration intact. The construction began in 1725, the church was consecrated in 1743, and the last sculptural decoration was in place by 1755.
It was designed by Giorgio Massari (1687 – 1766), an Italian late-Baroque architect from Venice, who was responsible not only for the building itself but also for its interior fittings and decoration and for commissioning the paintings and sculpture. He did not attempt too original a building, thinking that he could best please his patrons by a design based on those of his famous predecessors, in particular Palladio, whose two churches of San Giorgio Maggiore and Il Redentore were within sight of the new church. The facade of the church was derived from the central portion of the facade of San Giorgio Maggiore, while the basic idea for the interior came from the Redentore.
winter light reflected
and we are given
twice the joy
*****
Even in Winter there is still beauty to be found and to be seen. I often pass by here on my way to the local shops and the Post Office. It is a delightful park to spend some time in and enjoy the plants and wildlife and look across the pond to my local church of St.Mary’s. My mind calms, and I can go about my day feeling that much better.
Motcombe Gardens, Eastbourne, East Sussex. UK.
And if you would like to see more of my work, have a look at my website at:
The monolithic church is an underground religious building dugged in the early 12th century of gigantic proportions (38 metres long and 12 metres high). At the heart of the city, the monolithic church reminds the religious activity of the city in the Middle Ages and intrigues by its unusual design. If it shows itself in the eyes of the visitor by the position of a 68-meter-high bell tower, then it hides itself behind the elegance of three openings on the front and a Gothic portal often closed. Source: www.saint-emilion-tourisme.com/uk/1-discover/31-the-12-in...
photo rights reserved by Ben
High above the city of Skopje, on the slopes of Mount Vodno, lies the monastery of St. Panteleimon — a place where silence, history, and devotion come together. We arrived in the early evening, around six o’clock, as the sky turned softly pink and the sun slowly disappeared behind the hills. At first, the monastery seemed closed; the gate was shut and the courtyard quiet. But a few local men from the monastery, along with a kind priest, noticed our interest and kindly opened the old gate for us. Inside the walls, a deep stillness lingered. The air was cool, the stones still held the warmth of the day, and below us Skopje shimmered in the golden light of sunset. In front of us stood the small 12th-century church, with its distinctive Byzantine domes and warm brick walls. It is a place where time seems to slow down — where faith is not proclaimed loudly, but quietly lived. Here, high above the city, silence speaks, and every stone seems to whisper an ancient prayer.
Perched high above Skopje on the slopes of Mount Vodno, the Monastery of St. Panteleimon is a peaceful Byzantine gem from the 12th century. Surrounded by silence and mountain air, it offers a timeless view over the city — a place where faith and history meet in quiet harmony.
Hoog boven de stad Skopje, op de hellingen van de berg Vodno, ligt het klooster van St. Panteleimon — een plek waar stilte, geschiedenis en devotie samenkomen. We kwamen aan tegen de avond, rond zes uur, terwijl de lucht zacht roze kleurde en de zon langzaam achter de heuvels verdween. Aanvankelijk leek het klooster gesloten; de poort was dicht en het terrein lag er verlaten bij. Maar een paar lokale mannen van het klooster, samen met een vriendelijke priester, zagen onze belangstelling en deden speciaal voor ons de oude poort open. Binnen de muren heerste een diepe rust. De lucht was koel, de stenen straalden nog de warmte van de dag uit, en beneden glinsterde Skopje in het avondlicht. Voor ons stond de kleine kerk uit de 12e eeuw, met haar kenmerkende Byzantijnse koepels en warme bakstenen muren. Het is een plek waar de tijd lijkt te vertragen — waar geloof niet luid wordt verkondigd, maar stil wordt beleefd. Hier, hoog boven de stad, spreekt de stilte, en lijkt elke steen een eeuwenoud gebed te fluisteren.
I am usually in the shadows
But I sense the time is near
When love will come to claim me
And I can put aside my fears
There has been this lifelong aching
I have never stopped my searching
A sort of desperate longing
Running in tandem with my ageing
But will you then decide
To burn me
Incinerate my soul
And desert me
Will I return to just ashes
A carbon copy spirit
Not really here
A stain on the wall
My heart wants to break
In tiny little pieces
Shattered like an ancient angel
Right before the fall
Come and end my torment
Lead me to the light
I will leave my cloak of shadow
Leave behind the night
*****
Sometimes the beauty and sheer power of creation just overwhelms me in the places I go.
All I can do is stand there with my camera and hope it doesn’t destroy me with joy.
This was one of those occasions…barely able to take the shot.
Exhilarated, exhausted..I wouldn’t change a thing.
Ripe Churchyard, East Sussex, UK.
I have paired this work with “The Way” by Zack Hemsey…it seemed fitting.
youtu.be/oN2Xs-MvxLw?si=E-OnMnl2pjveTeG5
And if you would like to see more of my work have a look at my website at:
Le plafond en éventail de la tour dans la cathédrale de Winchester, capitale du comté de Hampshire, dans le Sud de l’Angleterre.
Le chœur se situe juste en dessous de cette tour centrale. De côté gauche, on aperçoit un bout du plafond de la nef de style gothique perpendiculaire et, du côté droit le plafond gothique décoré qui surplombe le Maître-Autel et l’arrière-chœur. Les stalles du chœur datent de 1308 et font de celui-ci le plus vieux parmi les grands chœurs médiévaux d'Angleterre à subsister pratiquement dans sa forme d'origine avec ses personnages et ses amusantes sculptures d'animaux.
La construction de cette cathédrale a débuté en 1079 sous Guillaume le Conquérant. Malgré les transformations jusqu'au 16e siècle, elle a conservé l'essentiel de l'architecture originelle de style roman de l'ancien monastère bénédictin.
L'antique Venta Belgarum, au carrefour de six voies romaines, a laissé la place à Winchester, une ville prestigieuse au milieu d'une région champêtre. Elle devient la grande capitale du royaume du Wessex du 6e siècle au 9e siècle, la capitale d'Angleterre jusque sous les premiers rois normands au 11e siècle, suite à la conquête de Guillaume le Conquérant. Elle reste une des résidences principales des rois jusqu'à George Ier, début du 18e siècle, tout en s'affirmant un des évêchés les plus riches d'Angleterre.
It is the shortest day
When the night is at its darkest
But never forget that this only makes
The light when He appears at its brightest
These days before Christmas
Are like a held breath
The universe is waiting
For when the rosy cross is born anew
And the angels will sing in harmony
As love and peace arch across the heavens
The evening steals into the church
Attracted to the promise
Of light and dark in perfect balance
Like the mystic dance of the spheres
Never forgotten since genesis
And repeated for evermore in bliss
*****
The twenty-first of December this year found me in my local church of St.Mary’s in Old Town, Eastbourne in the UK. I decided to walk down there later on in the afternoon to see if I could capture the wonderful atmosphere within as it began to get dark outside.
The peace and stillness within this church at this time of day in the winter is something that I have always found to be extra special, as if you are being held in a close embrace. As it gets nearer Christmas, there is also a sense of anticipation that builds.
May I wish you all a peaceful and loving Christmas and New Year. Thank you to all of you who have supported me on Flickr and welcomed me with your friendship.
Sharing what we love to do creatively and what we experience has been a joy in itself for me. That you enjoy what I do astounds me every time. Thank you all, with all my heart, Shelley xxx
Enjoy The Carol of The Bells, by The Tabernacle Choir, Blessings To All!
www.youtube.com/watch?v=k-W2Bkz_Rno
And if you would like to see more of my work, have a look at my website at:
Idd church - Halden - Norway
Idd church is from around 1100s
The church has a medieval baptismal font in soapstone. Altarpiece and pulpit were given as a gift by Pernille Christoffersdatter Friis and parish priest Niels Olufsen Dorph in 1656
According to an old legend, two sisters, Ida and Ara, have each build their own church, one in Idd and the other in Aremark. After these sisters, according to tradition, the villages should have been given their names..
꧁✿🌸╭⊱ ♥ ⊱╮🌸✿꧂
Thanks to everyone who takes the time to view,
comment, fave and invite my photo, much appreciated**
St Andrew's Church is a church within a church. It is a partly redundant grade 1 listed Anglican church in the hamlet of Covehithe in the county of Suffolk.
The oldest surrounding fabric of medieval church dates from the 14th century, although most of it is from the 15th century. A newer small church has been built at the west end of the 17th-century church against the tower. Amazing place
La voûte en éventail de la Bell Harry Tower de la cathédrale de Christ Church, Canterbury, The Precincts, comté du Kent, dans le Sud-Est de l'Angleterre. Autour on peut admirer la variété des plafonds des salles adjacentes.
La Bell Harry Tower, tour centrale de la cathédrale, fut construite en 1498 pour abriter une cloche offerte à la cathédrale. Elle présente une spectaculaire voûte en éventail achevée en 1503 où sont représentées les armoiries des principaux bienfaiteurs et offre un bel exemple de gothique anglais.
La cathédrale de Canterbury a accueilli des milliers de pèlerins depuis le meurtre de saint Thomas Becket en 1170. La grande diversité des styles architecturaux reflète l’évolution durant sa construction du 12e au 15e avec la tour St-Anselme (1130) de style roman, les deux tours occidentales et la nef de style gothique perpendiculaire anglais de 1377 à 1405 et la tour centrale Bell Harry de style gothique avancé de 1498. La cathédrale Christ Church a été classé en 1988 au patrimoine de l’UNESCO (WHL-496).
Canterbury est d'abord enregistrée comme étant la principale colonie de la tribu celtique des Cantiaci qui a longtemps habité le Kent moderne. Au Ier siècle apr. J.-C., les Romains accaparent la colonie et la nomment Durovernum Cantiacorum. Cette ancienne capitale du royaume de Kent est l'une des villes les plus anciennes du pays. Nommé siège épiscopal en 597, la ville devient rapidement le siège de l'archevêque primat d'Angleterre. Plusieurs de ces archevêques sont canonisés dont Thomas Becket. La cité devient un grand centre de pèlerinage durant le Moyen Âge, ce qui inspira les Contes de Canterbury de Geoffrey Chaucer.
Depuis le 16e siècle, la ville est le siège du chef spirituel de l'Église d'Angleterre et de l'anglicanisme. Le premier des archevêques anglicans est Thomas Cranmer (1489-1556), nommé par Henri VIII en 1533, suivi de Reginald Pole (1500-1558), dernier archevêque catholique. Aujourd'hui, la ville est un centre universitaire et une destination touristique populaire, notamment grâce à sa cathédrale. Elle est l'une des villes les plus visitées du Royaume-Uni et son économie dépend fortement du tourisme. Elle accueille un campus de l'université du Kent.
The Grade II Listed Church of St Mary, Hundleby, East Lindsey, Lincolnshire.
The 14th-century medieval church was mostly torn down in 1854-55 and reconstructed using the original greenstone. Only the base of the tower and nave remain of the former church.
Hundleby is listed in the 1086 Domesday Book as "Hundelbi", with Ivo Tallboys as Lord of the Manor. This was long an agricultural area, a centre for sugar beet production.
Spilsby Union Workhouse was built in Hundleby in 1837, to designs by George Gilbert Scott. After 1930 it became a Public Assistance Institution. In 1948 it was converted to the Gables Hospital providing geriatric care. It was eventually closed and demolished.
The ruins of the medieval stone church built around 1495–1505 and abandoned in 1839.
Keskiaikaisen, noin vuosien 1495–1505 tienoilla rakennetun ja 1839 hylätyn kivikirkon rauniot.
Pälkäne, Finland
Photographing in my backyard...20 min from home.
De Kerk Is Open / The Church Is Open.
Sunrise (with a 120 sec exposure) at the Mauritius Church in Marsum (municipality of Appingedam), owned by the "Stichting Oude Groninger Kerken" is one of the most beautiful medieval Churches in the Dutch province of Groningen, and is probably build somewhere in the 12th century.
Enjoy...
Image is under Copyright by Henk Meijer.
Contact me by email if you want to buy or license my photographs.
Le Zitelle (officially Santa Maria della Presentazione) is a church in Venice, Italy. It is part of a former complex that gave shelter to young maidens ("zitelle" in Italian) who had no dowry, and is in the easternmost part of the Giudecca island.
Generally attributed to Andrea Palladio, the original design dates to 1579–80 and the construction to 1586.
photo rights reserved by Ben
The David Gareja Monastery complex is hidden deep in the rugged, semi-desert landscape of eastern Georgia, near the border with Azerbaijan. The area is characterized by dry hills, barren plains and steep sandstone cliffs — far from any town or village. It is this remoteness that enhances the spiritual atmosphere of the place, which for centuries has been a refuge for monks seeking refuge from the world. The photo shows the heart of the complex, with the round towers and roofs of the Lavra monastery, flanked by an imposing, steep rock face with carved cells and chapels. At the very top of the rock stands an old watchtower — a reminder of the defensive role this monastery has played over the centuries. In the middle of the green courtyard a Georgian Orthodox monk crouches by the grass, silent and unobtrusive as a shadow in the landscape. In the foreground Kanitha walks quietly up the path, accompanied by a local dog that faithfully follows her — a small, lively detail that softens the human presence in this silent landscape. The complex is partly carved out of the sandstone cliffs, and is still actively inhabited by monks who live a simple and dedicated life. David Gareja is therefore not an abandoned ruin, but a living monastery, rooted in centuries-old tradition and connected to the rhythms of nature. During our visit we were the only visitors, which made it possible to experience the site in complete tranquility. The monastery offers breathtaking views across the vast semi-desert plains — a place of tranquility, contemplation and mysticism, where stone, silence and spirituality merge.
Tucked into the rugged, semi-desert hills of eastern Georgia, near the Azerbaijani border, the David Gareja Monastery blends silence, stone, and devotion. In this scene, the Lavra complex rises beside a steep sandstone cliff carved with ancient monk cells. A Georgian Orthodox monk crouches quietly in the courtyard. In the foreground, Kanitha walks the path with a loyal local dog — a tender moment in a timeless place of solitude and reflection.
Het David Gareja-kloostercomplex ligt diep verscholen in het ruige, halfwoestijnachtige landschap van Oost-Georgië, vlak bij de grens met Azerbeidzjan. De omgeving wordt gekenmerkt door droge heuvels, kale vlaktes en steile zandsteenkliffen — ver verwijderd van steden of dorpen. Juist deze verlaten ligging versterkt de spirituele sfeer van de plek, die eeuwenlang een toevluchtsoord is geweest voor monniken die zich wilden terugtrekken uit de wereld. Op de foto zie je het hart van het complex, met de ronde torens en daken van het Lavra-klooster, geflankeerd door een imposante, steil oprijzende rotswand met uitgehouwen cellen en kapellen. Helemaal boven op de rots staat een oude wachttoren — een herinnering aan de verdedigingsfunctie die dit klooster door de eeuwen heen heeft gehad. In het midden van het groene binnenhof zit een Georgisch-Orthodoxe monnikgehurkt bij het gras, stil en onopvallend als een schaduw in het landschap. Op de voorgrond loopt Kanitha rustig over het pad naar boven, vergezeld door een lokale hond die haar trouw volgt — een klein, levendig detail dat de menselijke aanwezigheid verzacht in dit stille landschap. Het complex is deels uitgehouwen in de zandsteenrotsen, en nog altijd actief bewoond door monniken die er een sober en toegewijd leven leiden. David Gareja is dus geen verlaten ruïne, maar een levend klooster, geworteld in eeuwenoude traditie en verbonden met het ritme van de natuur. Tijdens ons bezoek waren we de enige bezoekers, wat het mogelijk maakte het terrein in volledige rust te ervaren. Vanaf het klooster strekt zich een adembenemend uitzicht uit over de uitgestrekte semi-woestijnvlakten — een plek van verstilling, bezinning en mystiek, waar steen, stilte en spiritualiteit in elkaar overvloeien.
Antingham is one of those quietly remarkable Norfolk villages where the churchyard tells a bigger story than you expect. Here you have two medieval churches in one enclosure: the working church of St Mary the Virgin and, only a short distance away, the roofless ruin of St Margaret.
Why two churches in one churchyard?
In the Middle Ages Antingham was effectively split between different manorial interests, each with its own church. One manor was linked to the Abbey of St Benet at Hulme (recorded holding a lordship here by the late Anglo-Saxon period and at Domesday) and St Margaret belonged with that connection. The other manor passed after the Conquest into the orbit of Roger Bigod and later the local de Antingham family and St Mary was associated with that side of the village’s story. The result was unusual but perfectly logical for its time: two churches serving the same place, side by side, reflecting rival patrons and separate obligations.
A nice local detail is that the village appears in Domesday as Antigeham. The name is understood as a Saxon settlement name meaning the home of Anta’s people and it is said that the River Ant takes its name from the village rather than the other way round.
St Mary the Virgin
The present St Mary’s is largely a 14th-century building in the Decorated style, constructed mainly between about 1330 and 1360. It has a strong sense of unity, partly because there were relatively few later changes that disrupt the original plan. A notable feature is the long, continuous interior line with no strong structural break between nave and chancel, which gives the whole space an unusually flowing feel for a parish church of this period.
A few details to look out for:
The font is 13th century and made of Purbeck marble. It predates the 14th-century fabric and is thought likely to have come from St Margaret’s at some point.
There is historic graffiti around the south doorway including shields and marks interpreted as travellers’ or pilgrims’ crosses.
During renovation work a 12th-century limestone coffin slab was discovered, a reminder that worship and burial here long pre-date St Mary’s present walls.
St Mary’s has also had its moments of crisis and renewal. By the early 1700s it needed serious attention and materials from St Margaret were authorised for repair work. A major Victorian restoration followed in 1864 (recorded with a cost of £430) bringing new fittings such as seating and a pulpit. The porch was rebuilt in 1882 after storm damage. In more modern times there has been further care and adaptation including a bell re-hung in 2003 and an added extension in 2009.
There is also a long-lived village tale about two sisters who quarrelled and built rival churches. It is a charming story but the buildings themselves make clear the timescales do not line up and the more convincing explanation is the practical one: two manors and two patrons.
St Margaret
St Margaret’s is the older foundation. What survives is mostly an ivy-clad shell but the fabric still reads clearly if you take your time.
The nave dates to around 1100 (possibly with Late Saxon elements suggested in some accounts)
A west tower was added in the first half of the 14th century
The chancel is thought to be 14th to 15th century
Its decline is closely tied to institutional change. When the monasteries were dissolved in 1539, St Margaret lost the support associated with St Benet’s and the church slid into long-term deterioration. By the late 1600s it was effectively abandoned. A particularly telling document is the 1703 faculty granting permission to take down parts of the ruined church, with the strict instruction that the stone and materials be used for repairing St Mary’s steeple and the churchyard walls. In other words St Margaret became, quite literally, a quarry for keeping the surviving parish church going.
Even after worship had ceased the administrative tidying-up took much longer. Consolidation arrangements are recorded as being formalised in 1748, though practice on the ground had probably shifted earlier. Much later still, St Margaret was finally consolidated with St Mary again in 2003, a modern footnote to a medieval split.
Today St Margaret remains fenced and fragile in places, roofless throughout, its walls heavily burdened by ivy and time. It is still deeply atmospheric: a medieval parish church reduced to its outline, standing within the same churchyard that continues to serve the village.
Two medieval churches, one churchyard
Standing here you can see layers of English parish life in one glance: an early medieval foundation that faded after the Reformation and the Dissolution, and a 14th-century rebuild that survived by restoration, adaptation and, at one point, by reusing the stone of its neighbour. Antingham’s churchyard is not just unusual for the double skyline. It is a compact lesson in how patronage, economics and changing religious institutions shaped what endured and what fell into ruin.
Une des galeries du grand cloître de la cathédrale de Christ Church, Canterbury, The Precincts, comté du Kent, dans le Sud-Est de l'Angleterre.
Ce grand cloître fut reconstruit en style Perpendicular vers 1400. Les voûtes à clefs des galeries sont richement décorées de nombreux blasons de la fin du Moyen Âge.
La cathédrale a accueilli des milliers de pèlerins depuis le meurtre de saint Thomas Becket en 1170. La grande diversité des styles architecturaux reflète l’évolution durant sa construction du 12e au 15e avec la tour St-Anselme (1130) de style roman, les deux tours occidentales et la nef de style gothique perpendiculaire anglais de 1377 à 1405 et la tour centrale Bell Harry de style gothique avancé de 1498. La cathédrale Christ Church a été classée en 1988 au patrimoine de l’UNESCO (WHL-496).
Canterbury est d'abord enregistrée comme étant la principale colonie de la tribu celtique des Cantiaci qui a longtemps habité le Kent moderne. Au Ier siècle apr. J.-C., les Romains accaparent la colonie et la nomment Durovernum Cantiacorum. Cette ancienne capitale du royaume de Kent est l'une des villes les plus anciennes du pays. Nommé siège épiscopal en 597, la ville devient rapidement le siège de l'archevêque primat d'Angleterre. Plusieurs de ces archevêques sont canonisés dont Thomas Becket. La cité devient un grand centre de pèlerinage durant le Moyen Âge, ce qui inspira les Contes de Canterbury de Geoffrey Chaucer.
Depuis le 16e siècle, la ville est le siège du chef spirituel de l'Église d'Angleterre et de l'anglicanisme. Le premier des archevêques anglicans est Thomas Cranmer (1489-1556), nommé par Henri VIII en 1533, suivi de Reginald Pole (1500-1558), dernier archevêque catholique. Aujourd'hui, la ville est un centre universitaire et une destination touristique populaire, notamment grâce à sa cathédrale. Elle est l'une des villes les plus visitées du Royaume-Uni et son économie dépend fortement du tourisme. Elle accueille un campus de l'université du Kent.