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Built on Burke Road on a rise between the busy shopping strips that make up the Camberwell Junction and the grand catholic Our Lady of Victories Basilica, stands the striking Saint John the Apostle and Evangelist Church of England.
Almost since the beginning of 1863, Church of England Services have taken place on the site where Saint John the Apostle and Evangelist Church of England stands. In 1863, Camberwell was not the affluent and well established inner city Melbournian suburb that it is today; rather it was a small rural outpost of Melbourne. Therefore the first church, known simply as the Church of England at Camberwell, was little more than a small Victorian Gothic church of brick and stone. However Camberwell, like most of Melbourne, grew as a result of the Gold Rushes and by 1869 an additional chancel had been completed to make allowances for a congregation of around 200 people. As Camberwell's citizenry swelled in number and wealth, so too did their places of worship, and by 1887 Saint John the Apostle and Evangelist Church of England was enlarged and added to. There was no shortage of money, as by this time Camberwell was the home of wealthy industrialists, businessmen and pastoralists as well as a backbone of respectable middle class white collar workers, so the church's windows were filled with elegant and costly stained glass from companies like Mathieson and Gibson, Brooks, Robinson and Company and artists like William Montgomery. Further additions were made on the cusp of the Great War in 1914, and finally a towering spire was added after the War in 1924. In 1930 three stained glass windows by Australian husband and wife artists Christian and Napier Waller featuring the Apotheosis of David were added.
By the outbreak of the Second World War, Saint John the Apostle and Evangelist Church of England was an enormous brick an sandstone Victorian Gothic edifice, recognised as a local landmark, and a source of great pride for its wealthy and respectable congregation. Seating over 800 people, it continued to be a place of worship and many happy occasions until the night of the 18th of March 1955, when as a result of an arson attack, the grand building was destroyed by fire. Only the bell tower and spire survived, standing defiantly against the odds, pointing to the heavens.
Devastated by the arson attack, the congregation of the church rallied and engaged successful ecclesiastical architect Louis Williams to design a new Saint John the Apostle and Evangelist Church of England. The foundation stone for the new church was laid by the then Archbishop of Melbourne, The Most Reverend J. J. Booth on the Feast of Saint Michael and All Angels on the 29th of September 1956. Rising like a phoenix from the ashes, the new Saint John the Apostle and Evangelist Church of England was completed within two years, finished in November 1957. Sadly, it was discovered several years after its completion, that the belfry and tower of the old Saint John the Apostle and Evangelist Church of England were seriously damaged by the heat of the 1955 fire. Constructionally compromised and therefore a danger not only to the congregation, but any passerby on busy Burke Road should the tower and spire fall into the thoroughfare, the remnants of the old church had to be demolished.
The current Saint John the Apostle and Evangelist Church of England building is architecturally very striking. The vast red brick facade rises vertically towards the sky with very little external decoration and is a fine example of Post-War Ecclesiastical architecture. In the wake of the Second World War, faced with austerity and building material shortages as well as the decimation of a workforce skilled enough to architecturally enhance revivalist buildings, architects had to re-think their designs to please their conservative clients who did not want the flat-roofed, glass encrusted boxes that were in vogue in architecturally avant-garde post-war America. Their answer was that between 1940 and 1960, they designed simplified versions of medieval churches. This link back to the more peaceful past, whilst managing the current difficulties of labour and building supplies worked beautifully. Saint John the Apostle and Evangelist Church of England is an ultra-stripped back, simplified version of a Romanesque church. It maintains a traditional rectangular shape, features a traditional pyramidal roof and has aisles that flank the central nave. Its front facade has a post-war Art Deco feel, particularly around the front porch which has elegant brick detailing and a very stylised Art Deco sandstone eagle - an attribute of Saint John the Apostle and Evangelist - above the door. This link to the past is enhanced by the two Old English Gothic style wrought iron lamps that flank the portico's outer doors. A traditional Gothic window with simplified sandstone tracery appears on the facade and is imbedded into a rounded arch which is more shallow than pre-war examples. The church's slender lancet windows have semicircular heads and feature for the most part, latticed plain glass. This allows the church's interior to be flooded with natural light even on a cloudy afternoon, such as the one when I visited Saint John the Apostle and Evangelist Church of England. Some describe the building as elegant, others austere, but the general consensus is that it is one of Louis William's finest architectural works from his very large output of work.
Inside the light filled church, the use of stained glass is at a minimum, yet there are three examples which are a throwback to Saint John the Apostle and Evangelist Church of England's glorious stained glass past. When the arsonist attack in 1955 raised the church, so many magnificent, historical and valuable stained glass windows were lost to the conflagration including the three stained glass windows by Australian husband and wife artists Christian and Napier Waller of the Apotheosis of David (shepherd, king and builder) installed in 1930. As part of the church's re-building, Napier Waller (Christian had died by 1955) was commissioned to create three new stained glass windows in memory of those from Saint John the Apostle and Evangelist Church of England who served in the two World Wars. Saint Columba, Saint Alban and Saint Aidan were unveiled in 1961. Installed to the left of the narthex, the three windows are set into their own bay with Saint Columbia on the left, Saint Alban in the middle and Saint Aidan on the right. Designed in post-war Art Deco style, Saint Columbia has an inscription which comes from Psalm 107:23 "They do business in the great waters", Saint Alban has an inscription from Psalm 76:8 "The earth trembled and was still" and Saint Aidan has an inscription from Psalm 18:10 "He did fly upon the wings of the wind".
Louis Reginald Williams (1890 – 1980) was born in Hobart, Tasmania and attended school at Queen’s College. His father was a furniture manufacturer, and the family was very religious. Louis’ interest in churches guided him into choosing a career in architecture. He was trained by architect Alexander North, with whom Louis eventually formed a joint partnership when they moved to mainland Australia and set up an architectural firm, Williams and North, in Little Collins Street in Melbourne. Although Louis was commissioned to design commercial buildings and houses, it is for his ecclesiastical buildings that he is best known. He worked mostly in either traditional Gothic or Arts and Crafts styles. Not only was he concerned about the exteriors of his churches, but the interiors as well, and he maintained a group of skilled craftsmen whom he trusted to create his designs for furniture and fittings to harmonise with the buildings he created. He also advised on stained glass, lighting and even mosaic tiling, and no detail was too small for Louis. He designed churches throughout Australia for the Church of England, Presbyterians, Lutherans, Methodists and the Christian Scientists. His career lasted for nearly sixty-five years until he was in his mid eighties.
This fourth CreativeMornings/Bogotá event was generously hosted by Casa LABLOOM.
Ana Sánchez was our speaker.
The event was sponsored by Brot Bakery and Café and SocialColectivo.
Photos by Adriana Mosquera AMOSS Photography.
The video, soon on Vimeo, was filmed by Alberto Durán ( (ToolKit)).
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This sizable Reformist (Arts and Crafts) style villa built in a quiet, tree lined side street in the Melbourne suburb of Travancore is extremely austere in its design when compared to its Queen Anne style neighbours.
Built between Federation (1901) and the Great War (1914), the choice of red brick to construct the villa with is very in keeping with the Arts and Crafts Movement, as is the restrained use of decoration - most noticably the frieze of feature bricks under the upper gable. The latticed glass windows featuring a small stained glass pattern inlay are also influenced by the Arts and Crafts Movement. The builder has shown his admiration for the Arts and Crafts movement by making the bricks real features in their design and layout across the verandah.
Arts and Crafts houses challenged the formality of the mid and high Victorian styles that preceded it, and were often designed with uniquely angular floor plans. This house's floor plan appears to be more traditional than others, with a central hallway off which the principal rooms were located.
Travancore is a bijou suburb named after a beautiful Victorian mansion erected in 1863. The mansion's grounds were subdivided in the late 1890s to form the new suburb, which consists only of only about five streets. With commanding views of Royal Park, the area was much sought after by aspiring middle and upper middle-class citizens. This spacious stand alone double brick residence would have been acquired by the latter of these groups. Houses like these would have suited a medium sized Edwardian family, and would have required a small retinue of servants to maintain.
Hiding behind a high red brick garden wall, this substantial 1920s Mock Tudor villa in the Ballarat suburb of Wendouree, would have been for a larger sized upper-class family.
This house with its high gabled roof line features ornamental white stucco work under the gables with black painted wooden struts to give it a Tudorbethan style, so popular across Britain and her dominions in response to the earlier Arts and Crafts Movement.
This style of house would have appealed to the moneyed upper-classes of Ballarat whose money came from either the Nineteenth Century gold rush, or from the wool or farming industries that developed post the boom. Comfortable and very English, it would have shown respectable and not inconsiderable wealth.
This is the Lench's Trust Almshouses on the Ladywood Middleway in Five Ways (next to the former Childrens Hospital facade, now Broadway Plaza).
I already got the one in Bordesley, and had to get this one, they are of the same design.
Dating from 1858, it is by Hornblower & Haylock, is in Tudor style with shaped gables.
It is Grade II listed.
Dated 1858, by J H Hornblower and Haylock. Red brick; stone dressings; shaped
tiled roofs. In a Jacobean style. To the street a symmetrical composition created
by a central matron's lodge and 2 wings stretching back from a flanking wall with
a single door in it just to the left of the matron's lodge. This has a shaped
gable; the wings have gables with lushly decorated tripartite panels containing
identical inscriptions and are surmounted by chimneys. The matron's lodge has at
ground level a tripartite mullioned and transomed window with, above, a tripartite
mullioned window with hood mould. The wall has a moulded capping stone which
continues across the facade of the wings as stringcourses. Within the precinct,
a lawn with, facing onto it, 12 almshouses, 6 each side. Two-light casement windows
to both ground and first floors. Porches, each giving entry to 3 almshouses, rise
through 2 storeys. They are open on 3 sides at ground floor level, have a single
2-light casement window on the first floor and terminate in shaped gables. The
matron's lodge has a stone canted bay window rising through 2 storeys and
terminating in a shaped gable.
Lench's Trust Almshouses - Ladywood Middleway - Heritage Gateway
Views of the Chamberlain Clock Tower from Selly Oak, on the Bristol Road.
It is a Grade II listed building. It is also known as the Joseph Chamberlain Memorial Clock Tower, with the nicknames Old Joe, Big Joe or simply Clock Tower.
It was built to commemorate the first Chancellor of the University - Joseph Chamberlain. One of the suggested names was Poynting Tower, after one of the early professors of the University - Professor John Henry Poynting.
It was designed as an initial part of the University Campus by the architects Aston Webb and Ingress Bell. It was constructed between 1900 and 1908.
The centre focal point of the D plan group of main university buildings designed
by Sir Aston Webb and Ingress Bell, 1900-1909. Dramatically soaring bright,
machined red brick campanile clock tower of tapering square section rising sheer
from the forecourt with a corbelled top stage and lantern.
Chamberlain Tower - Heritage Gateway
Next to the tower is the Great Hall and Quadrant Range, which is a Grade II* listed building. It includes the Aston Webb building.
1900-1909 by Sir Aston Webb and Ingress Bell, the D plan group main university
building of which only part were completed to the original design. The Great
Hall opposite the tower is the central axial building, to its front is a square
entrance hall with a giant round arched mullioned window, above an ornate
frieze over the loggia doorways, flanked by tapering square corner turrets
(to rear as well) which are topped by small ribbed domes. Over the hall rises
a low octagonal drum supporting a large ribbed dome and a miniature lantern.
Red brick and stone and buff terracotta dressings, but the conception is more
Byzantine than Renaissance. Behind the domed and galleried entrance hall with
ornate Renaissance grotesque relief carving, lies the Great Hall itself, a
vast tunnel vaulted space with cross vaulted
2 storey side galleries. Rich grotesque carving. Lavish stained glass by
T R Spence. The centrepiece of the hall has 2 storey quadrant links forming
the wing pavilions, 2 to the west but only one completed to the east. These
relate on a smaller 2 storey scale to the Great Hall being square on plan and
with similar ribbed domes but with round corner turrets, wings extending
behind. Flat lintelled window ranges on ground floor and large frescoed
friezes by Anning Bell below the parapets on the first floor level. The link
ranges have segmental arched windows. Modern part to east not of special interest.
The Green Man & Black Head's Royal Hotel as seen on St John Street in Ashbourne, Derbyshire.
Here you can easily spot the sign above the road with the "Black Head".
Grade II* listed.
The Green Man and Black's Head Hotel, Attached Inn Sign Bridging Road, Ashbourne
ST J0HN'S STREET
1.
783
(South-East Side)
15.6.51 No 10 (The Green Man
and Black's Head Hotel)
(formerly listed as
Green Man Hotel)
Attached Inn sign bridging road.
SK 14 NE 1/35
II* GV
2.
Mid C18. Red brick, tiled roof. 3 storeys, 7 windows with plain lintels and sills,
sashes with glazing bars. Square headed arch to courtyard the latter having some
pictorial appeal; a rear moulded wooded bay window overlooks it. Painted, rare
iron and wood "gallows" inn sign bridging road.
Dr Johnson stayed here on several occasions (vide Boswell).
No 2 and Nos 6 to 44 (even) form a group.
Listing NGR: SK1802646674
This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
Kitaiskaya, Russian Concession
This wedge-shaped redbrick corner building occupies a block in the former Russian Concession and is believed to have been erected as a residential block by a successful Russian tea merchant after whom it is now known. However, to me this does not sound like a Russian name, most probably the Chinese name adopted by or given to the Russian merchant, given the difficulty in being able to properly pronounce the Slavic original.
The building can be clearly seen in an old post card www.flickr.com/photos/aaronhuixin/3136887975 - which can be seen in the flickr pages of Aaron Jang. It would appear that the top floor was added later to provide additional accommodation - a feature found in many old buildings in China.
Because of "tree issues" - I was unable to replicate the earlier photo. It now continues to be used partially as apartments but now also houses a traditional Chinese medicine clinic. Can't help thinking that the original top corner room with French windows opening to balconies on three sides would have been an airy treat to have lived in.
Lower Downtown Denver. This was once an old fallling down builiding, and before that some type of business in lower downtown, which is now called LoDo. The white painting on the sides of the building is all original. I loved the shadows on this view, and the zig zag of the stairs mixed in. Was a fun day and the first photo I was able to sell, someone in New Mexico who once lived near LoDo bought it in a very large size and it now hangs in her studio. Thankful that the downtown folks did not tear these brick buildings down....brick is so hard to find these days,
Red Brick Bar & Grill
www.redbrickbarandgrillturlock.net
153 S Broadway, Turlock, CA 95380
Photos taken by Mary Patton - CBA Photography (C)
Scott St, Newcastle.
The redbrick, Dutch-gabled, Baroque fantasy was designed by the prominent German-born Newcastle architect, Frederick Menkens. The ornamentation and oriel windows are in stone. Originally built for Joseph Wood, a successful local mine merchant and brewer, "Wood's Chambers" housed both “superior office accommodation and wine auction premises”. The building was regarded as Menkens' finest creations and reflecting this pride in his handiwork, Menkens practised here from a first floor office from 1893 until his retirement in 1908.
The building was subsequently acquired by mining industrialist William Longworth in the 1920s and was renamed 'Longworth House'. It was here from 16 March 1928 that Lonsworth hosted meetings of the Australasian Society of Patriots, providing a lecture hall, museum, art gallery and of all things, a herbarium. During this time, the building became commonly known as the 'Empire Club'. During WWII, it accommodated a canteen and meeting place in town for RAAF servicemen from their base in Williamtown and became known as the 'Air Force Club'. The dwindling number of Society members later forced the sale of the building in 1947 and it continued to operate as the Air Force Club until it closed and lay in vacant disrepair for many years.
Happily, the building was renovated and reopened in 2009 as Longworth House and according to its own website, it is:-
"Perfect for a unique wedding reception venue in the heart of Newcastle, Longworth House occupies an elegant and versatile space, overflowing with grace and charm. The ideal, inner-city function venue for a wedding, business function, corporate event, charity ball or private party".
Guild News, the student newspaper founded in 1936 and which changed its name to Redbrick in 1962, continued to be published throughout the war, though in a shorter format and fortnightly rather than weekly. Wartime issues are a useful source for the study of how the University and its students reacted to the conflict. This issue, from February 1942, provides information about some of the different areas of war work that students were involved in, including ‘post blitz’ relief work
Reference: UB/GUILD/F/4/3
Kentwell - a very different experience: a romantic, completely moated, mellow redbrick Tudor mansion in a tranquil parkland setting - but so much more.
A 30+ years Restoration Project
In 1970 Kentwell stood neglected. No-one was prepared to take it on - except Patrick Phillips. He fell for this wonderful House in its magical setting and was not deterred by its condition. Ever since then he has, with his wife and family, sought to bring Kentwell back to life. Their works have taken part of the House and its 15th Century Service Building back to the 16th Century. Elsewhere changes reflect their own preferences. House, Gardens & Farm have an unrivalled ability to captivate the visitor.
Take a glimpse into both the past and present of this unique House. Enjoy its delightful Gardens. You can do this whenever you come but especially if you visit during one of the award-winning Re-Creations of Tudor or WWII Everyday Life and (recently) Victorian life. Kentwell pioneered Tudor domestic Living History Events in the UK, and nearly 30 years on the Re-Creations are as magical as ever.
nrhp # 80000971- The Bartow County Courthouse, built in 1902, is an historic redbrick Classical Revival style county courthouse located on Courthouse Square in Cartersville, Bartow County, Georgia, United States. Designed by the Louisville, Kentucky architectural firm of Kenneth McDonald & Co. together with self-taught Georgia architect J. W. Golucke, who is said to have designed 27 courthouses in Georgia and four in Alabama, it is Bartow County's third courthouse and the second one built in Cartersville. The first courthouse built in Cassville, while the county was known as Cass County, was burned by General Sherman's troops in 1864. In 1867 the county seat was moved to Cartersville and the second courthouse was built in 1873. It proved to be unsatisfactory because court proceedings had to be halted while trains passed by on the nearby railroad. In 1992 a courthouse annex known as the Frank Moore Administration and Judicial Center was completed. While the 1902 building is still used for some court purposes, most of the proceedings are held in the 1992 building.
On September 18, 1980, the 1902 courthouse was added to the National Register of Historic Places.
from Wikipedia
A morning walk around Earlswood Lakes in Solihull.
Earlswood Lakes is the modern name for three man-made reservoirs which were built in the 1820s at Earlswood in Warwickshire, England, to supply water to the Stratford-upon-Avon Canal. They still supply the canal, and also provide leisure facilities, including sailing, fishing and walking. The northern banks of the lakes form the county boundary with the West Midlands.
The Stratford-upon-Avon Canal runs from Kings Norton Junction, where it joins the Worcester and Birmingham Canal to Stratford-upon-Avon, where it joins the River Avon, with a junction about halfway along at Kingswood, where it joins the Grand Union Canal. The initial 9.75 miles (15.6 km) to Hockley Heath is level, but after that, the canal drops through 55 locks on its way to Stratford-upon-Avon. In order to supply water to the system, the Earlswood Lakes were constructed in the 1820s. Construction took nearly 5 years to complete, and the labour force included prisoners of war from the Napoleonic wars. Some people say that lying at the bottom of all the lakes are the dead bodies of people who died while being forced to make the pools and they had no place to be buried so they were left there, either in groups or alone. Also the cost of construction was £297,000.
Being so near to Birmingham, the lakes proved attractive to visitors from the city from the early 1900s, and their popularity has been maintained, with recent improvements to the facilities which they provide. The Lakes railway station was built to bring tourists to the area and is on the Birmingham to Stratford line.
The three reservoirs are called Engine Pool, Windmill Pool and Terry's Pool, and a Grade II listed engine house is located beside the Engine Pool. The lakes cover 25 acres (10 ha), 25 acres (10 ha) and 20 acres (8.1 ha) respectively. The lakes are fed by tributaries of the River Blythe, and in turn outfall into that river also.
The Earlswood Engine House. It is near the Engine Pool.
Grade II Listed Building.
Engine House (Pumping Station), Earlswood Lakes
Listing Text
HOCKLEY HEATH VALLEY ROAD
1.
5108
Engine House (Pumping
Station), Earlswood Lakes
SP 17 SW 4/344
II
2.
C19. Redbrick, low pitched Welsh slated roof with brick cornice, end gables. 3
storeys, 2 closed windows with glazing bars wunder cambered relieving arches. Tall
and narrow with low single storey addition to south west side.
Included largely for historical interest for its connection with the Stratford upon
Avon Canal.
Listing NGR: SP1129874384
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Built in 1821 to house a steam engine which pumped water from Earlswood Lakes to the nearby Stratford-upon-Avon Canal
Kentwell - a very different experience: a romantic, completely moated, mellow redbrick Tudor mansion in a tranquil parkland setting - but so much more.
A 30+ years Restoration Project
In 1970 Kentwell stood neglected. No-one was prepared to take it on - except Patrick Phillips. He fell for this wonderful House in its magical setting and was not deterred by its condition. Ever since then he has, with his wife and family, sought to bring Kentwell back to life. Their works have taken part of the House and its 15th Century Service Building back to the 16th Century. Elsewhere changes reflect their own preferences. House, Gardens & Farm have an unrivalled ability to captivate the visitor.
Take a glimpse into both the past and present of this unique House. Enjoy its delightful Gardens. You can do this whenever you come but especially if you visit during one of the award-winning Re-Creations of Tudor or WWII Everyday Life and (recently) Victorian life. Kentwell pioneered Tudor domestic Living History Events in the UK, and nearly 30 years on the Re-Creations are as magical as ever.
In 1866 the original St Jude's Church of England was simply a temporary wooden structure erected for worship on a triangular block of land between Lygon, Palmerston and Keppel Streets in the busily growing working class suburb of Carlton, in Melbourne's inner north. However, between 1866 and 1867 the church's chancel, four bays of the nave, and vestry of the church that we see today were erected. St Jude's Church of England was built to the designs of Melbourne architects Reed and Barnes. The contractor awared the building of St Jude's was John Pigdon. Between 1869 and 1870 the remaining four bays of the nave, balcony, narthex and crypt were erected. In 1874 the south porch and steps and area wall were erected, and the iron railings and Lygon Street gates were erected in the same year.
Designed in Gothic style so popular with the Victorians, St Jude's Church of England is a beautiful polychromatic brick ecclesiastical building erected on a bluestone plinth with dark hawthorn brick walls and red and cream brick quoining, diaperwork and window surrounds. The plastered interior includes a western gallery, an 1868 George Fincham pipe organ, and stained glass by several prominent glass designers and makers, including Melbourne based stained glass window manufacturers Ferguson and Urie, Rogers and Hughes, Brooks Robinson, and William Montgomery. St Jude's Church of England is of architectural significance as it is an early example of Gothic-polychrome and one of the first fully polychromatic brick churches in Australia, and the building is heritage listed.
In 2009, after much fundraising from the parish, St Jude's Church of England went under a full restoration at the cost of one million dollars, which included painstaking picking out of the bricks with newly laid mortar and a renovated slate roof. On the 18th of October 2014 in the wee hours of the morning, a fire was deliberately started in St Jude's basement. The fire was noticed around four o'clock in the morning when flames were seen engulfing the roof, chancel windows and basement. Fifty Melbourne Metropolitan Fire Brigade trucks were required to bring the blaze under control, which they managed to do in around an hour. Whilst the fire was contained to the chancel and did not burn down the vicarage built against the chancel, St Jude's Church has lost several of its largest and most stunning original Victorian windows which were installed in the chancel. The damage bill is still estimated to be around $500,000.00 and the congregation has been forced to temporarily give up their beautiful place of worship. At the time of writing this, an appeal has been established to raise funds to restore the church and the congregation is meeting in various places within close proximity of St Jude's.
On a personal note, I was very fortunate to have visited St Jude's Church of England on my birthday, just over a month before the fire, after being granted a special request to photograph their stained glass windows in detail. I am very grateful to the staff of St Jude's for granting my request, even more so now that some of the windows are no longer there to admire. It is to the staff and congregation of St Jude's Church of England that I dedicate this set of photographs of their beautiful church; both inside and out.
Jordan Rd, Kowloon.
At a time when being Anglican equated to being part of the British colonial establishment, the Union Church was founded on the principle that Christians of all denominations and nationalities could worship together. The ecumenical or non-denominational movement in Christianity was popular in the post-WWI period and provided an alternative Christian form of worship to the perhaps stricter traditions.
Incorporated in 1927 under Hong Kong's laws, s.8 of the Kowloon Union Church Incorporation Ordinance provides that:-
"The services at the Kowloon Union Church shall be regulated and conducted in accordance with the constitution of the said Church and in such manner as to provide that fellowship in public worship and in spiritual communion and service which is the privilege and usance of all Christians and to spread the knowledge of the purpose of God in Jesus Christ and to unite in fellowship Christians of various denominations and of different countries in the worship of God in accordance with the principles and usages of Protestant Evangelical Christians."
The foundation-stone of the Kowloon Union Church was laid on 27 May 1930 by the then Colonial Secretary Sir Wilifred T. Southorn and the Church was completed and opened on 10 April 1931. This redbrick church continues to function in its original purpose.
Old redbrick warehouses, with the storage tanks of Butler Fuels in the background, alongside the Aire and Calder Navigation at Castleford Flood Lock.
Walking the Aire and Calder Navigation. Please see the set description for more information about this project.
Canon EOS 60D and Sigma 17-50mm f/2.8 and 10-20mm f/3.5.
Raw Conversion Adobe Camera Raw 8.1.
Postprocessing Photoshop CS6.
Kentwell - a very different experience: a romantic, completely moated, mellow redbrick Tudor mansion in a tranquil parkland setting - but so much more.
A 30+ years Restoration Project
In 1970 Kentwell stood neglected. No-one was prepared to take it on - except Patrick Phillips. He fell for this wonderful House in its magical setting and was not deterred by its condition. Ever since then he has, with his wife and family, sought to bring Kentwell back to life. Their works have taken part of the House and its 15th Century Service Building back to the 16th Century. Elsewhere changes reflect their own preferences. House, Gardens & Farm have an unrivalled ability to captivate the visitor.
Take a glimpse into both the past and present of this unique House. Enjoy its delightful Gardens. You can do this whenever you come but especially if you visit during one of the award-winning Re-Creations of Tudor or WWII Everyday Life and (recently) Victorian life. Kentwell pioneered Tudor domestic Living History Events in the UK, and nearly 30 years on the Re-Creations are as magical as ever.
14-15c Church of St John the Baptist Denham Norfolk - there was a church here mentioned in 1086 Domesday . It stands in an isolated spot on the site of a previous 12c -13c building.
Nave (with outward bowing walls), chancel, Victorian vestry and redbrick entrance porch.
Clearly visable on the north side is the blocked arch to a demolished north chapel described in 1731 as having 3 gravestones dedicated to the Bedingfields, the remnants of a screen with defaced angels, and stained glass windows.
The brass of Anthony Bedingfield d1574 3rd son of Sir 14-15c Church of St John the Baptist Denham Norfolk - there was a church here mentioned in 1086 Domesday . It stands in an isolated spot on the site of a previous 12c -13c building.
Nave (with outward bowing walls), chancel, Victorian vestry and redbrick entrance porch.
Clearly visable on the north side is the blocked arch to a demolished north chapel described in 1731 as having 3 gravestones dedicated to the Bedingfields, the remnants of a screen with defaced angels, and stained glass windows.
The brass of Anthony Bedingfield d1574 3rd son of Sir Edward Bedingfield. in ruff and gown, his wives lost, is now in the sanctuary, its reverse shows part of an earlier c1500 flemish brass to Jacobus Wegheschede. www.flickr.com/gp/52219527@N00/P0sU65 Indents of his brass with his 2 wives is in situ on the floor where the north chapel once stood. www.flickr.com/gp/52219527@N00/28H08k
A tower once set in the middle of the south wall according to a 1725 map, housed 3 bells. In 1744 a faculty was granted to sell two of the bells and use the money to take down the tower and put the building in good repair as well as building a place to hang the remaining bell. By 1747 the one remaining bell was housed in a cupola above the foreshortened west wall.
Outside, below the east window, is a Latin inscription from the previous church, the worn lettering translates “William de Kirksby, Prior of Norwich, placed me here, on whose soul God have mercy.” William was prior in the 1280/90's.
A late 13c lady of the Bedingfield family lies under a nave recess, angels supporting her head, her hands clasping a heart or reliquary.
In 1809 the building is described as “thoroughly repaired and neatly pewed,” . However sometime during the 19c the cupola was removed and replaced by a bell tower, but this fell down within living memory, and now the remaining bell inscribed AD1614 lies at the back of the church.
The building long neglected became desperately in need of help by 2007. The Friends of Denham Church Group, set up in 2009, organised a variety of events in their first year which has enabled them to donate £6,000 towards the repairs and with funds chiefly from English Heritage now well looked after.
Picture with thanks - copyright Adrian Cable CCL www.geograph.org.uk/photo/2699258
The church dates from the eleventh century onwards, although the majority of the church is of redbrick from the 18th century when the stone church was clad in brick, and refenestrated in 1758. The brickwork has decorative features. The roof is of lead and slate.
There is a two stage western tower of redbrick, but at the base there are possible remains of Saxon work inside. The top of the tower has battlemented parapets. The inside of the tower has massive wooden trusses.
The nave has north and south aisles, with three bay arcades dating from the thirteenth century. Much of the interior is in the 18th century Gothick style.
The chancel arch has been replaced by an 18th century three bay screen with ogee arches and gilt decoration and finials. There is a Royal Coat of Arms above the screen.
The north aisle contains three old bells which are quite large for a small church. They were taken down around 1950 when considered unsafe.
The nave has several hatchments to the Clinton and Lievesey families. There is a vault and memorial slabs to the Clintons in the chancel.
At the south west end of the nave is a large ledger slab to John Eland d.1473, and his two wives.
The chancel is entered by three steps up from the nave, and is typically Georgian. The altar is another three steps higher and there is no east window.
The church was restored in 1891-2 by W. Scorer.
In the north aisle there is a small organ by Clark & Sons of Kirton Lindsey.
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