View allAll Photos Tagged Require
Took some tables out of storage. Now the fun part begins.
Focus stack, 33 image. Shot with two off-camera strobes (Leica SF 60/Leica SF C1 trigger). Flash A camera right a modified with MagMod MagGrid. Flash B unmodified on boom over subject.
As required by Flickr, I have to warn you that this profile is an adult page 🔞, because there is nudity and sexual content in our gallery and favorites. Do not look at our photostream if you are under 18 (or 21 in some countries) or are offended by nudity
... changing circumstances require certain accommodations. I'm currently adding the use of Nordic poles to my exercise walks to take some pressure off my knees. It turns out there is technique involved, so there will be a learning curve. So far, I have more pain rather than less pain. Time will tell if my muscles adapt to the change.
One of my 'required' shots. Probably the best shot on the Lowestoft line, and a contender for 'Best in the Broads'. Passing St Olaves Marina on the River Waveney. Magic!
Great photography requires dedication, time and effort.
But above all there are costs involved as well.
Equipment, props and model fees, not to mention time,
are all "out-of-pocket" expenses for the artist.
If you enjoy my photography, you might like to help to support my art.
I offer over 2 hours of great videos, including many
behind-the-scenes of some of my best photo sessions,
all artistically crafted for your enjoyment.
Video on Demand on Vimeo.
I need your votes to get on the cover of Model Society Magazine.
With your vote you will help to get my work to be published on the cover of the magazine
as well, you will get a FREE digital copy of the magazine itself once published.
You get the digital copy just for voting weather I win or not.
So please vote soon. Contest ends end of March, 2023.
Please use the following links:
woobox.com/i9gvet/gallery/aEe4WZevWkc
woobox.com/i9gvet/gallery/RUUdjHovPhw
woobox.com/i9gvet/gallery/3D5Cnu6rIes
woobox.com/i9gvet/gallery/7ibt4aiA-pc
woobox.com/i9gvet/gallery/IM-ym-BSEL0
Thank you for your support!
Sol Lang
Having recently cut off from northbound trains, these two P42s run light to Ivy City for servicing. This procession takes place countless times daily as all trains from south of Washington require this power change.
NMPH demonstrates once again, how supreme Ironlak’s coverage is. Straight onto concrete.
See more from NMPH here:
ironlak.com/2011/07/nmph-no-prime-required/
More info: Ironlak.com/product_aerosols_ironlak.html
Railway Support Services (RSS) 08511 at Cambridge on the back of a low loader ready to leave Cambridge (destination Eastleigh) - The shunter is no longer required to shunt GA Class 317's in/out on Coldham Lane TMD for repair / refurbishment.
153365 stands at platform 1 at Rugeley Trent Valley station waiting to lead a 153/170 combo back to Birmingham New Street.
sometimes you need a little help finding your way...
this is for all of those poor souls who have drowned their dreams and their spark for reasons in life that require them to make the sacrifice... sometimes it's by choice of responsibility, sometimes it's by chance, sometimes it's just because of bad luck- or none at all, sometimes it's just because you think you can't or don't deserve to have it... our dreams are always there floating around in our heads just dying to come up for air and breathe, but sometimes we are just limp and heavy from reasons that don't allow us to move our limbs and reach for the surface; it's just such a sinking feeling to know that you're going to miserable for your whole life having to do things that anchor your dreams to the ocean floor- or at least that's what is believed, but sometimes we need that person, that one thing that grabs our hand and leads us back to the surface for air and that beacon of light- of hope that leads us back to land and makes us grounded again so we can live the life we've always dreamed of without the cold and heavy weight of the world on our shoulders. we all know someone like this in our lives and they need someone (like you) to reignite that spark in them that used to be there with a little love and a gentle tug back up to the surface so they can breathe again <3 xo
p.s. please do me a solid and view in "L" the sharpening is making my eyes bleed :/....
::detail in comments::
website | facebook | bluecanvas | 500px | prints | deviantART
Red-billed Oxpecker (Buphagus erythrorhynchus), Kruger National Park, South Africa
Ebird checklist:
A bulbul-sized olive-brown bird that sports a diagnostic all-red bill and a red eye surrounded by a fleshy yellow wattle. The juvenile lacks the bright bill and eye coloration. Small groups occur in savanna and farmland, where they require large wild ungulates and domestic stock to forage on; they clamber agilely over host mammals, gleaning ticks, mites, and other ectoparasites, and occasionally drinking host blood. As they fly between large mammals, they give a distinctive “tsik-tsik” call. The similar Yellow-billed Oxpecker differs from Red-billed Oxpecker by having a yellow bill base and pale rump and lacking an eye-wattle.
Source: Ebird
For Utata's Iron Photographer 337 project, requiring:
1. Something like a red wheelbarrow (Red Watering Can)
2. Clouds (Tick)
3. Snapshot aesthetic
Early colour lights the sky on my local beach at Sandsend [looking towards Whitby]. My wife had told me that dawn might be rather nice. I jokingly tell friends that beachwear consists of a heavy coat, waterproof over-trousers and neoprene Wellington boots - with temperatures around freezing, I'm sure you'll understand.
SPONSOR: Ghost
Onmitsu Boots @ Planet 29
*Bodies Size: Legacy+Perky+Pinupxbombshell, LaraX+ PetiteX, Ebody Reborn + Waifu Boobs Size
*Description:
Colors: 14+3 MONSTERPACK Exclusives + 3 BONUS COLORS
Available in 17 colors
Includes: Boots + Chains
Materials Enabled
Singlepack Comes with hud with Scales & Fabrics Option.
and 2 different normal map scale for fabric one!
HUD comes with Fabric and scales option, 4 metals, 4 gems colors.
Monsterpack comes with HUD of fulls colors + 3 Exclusives
and FOR THE MOMENT, exobyte HUD do not include only specular and normal map to be changed alone, so waiting this to be fixed Y.Y, I only put one for Moon colors sorry.)
4 Metals, 12 gems, 6 Soles, 3 Under sole colors
--------------------------------------------------------
🌹 SinglePack Prices: 380$
🌹 MonsterPack Prices: 3000$
--------------------------------------------------------
💜 💜 💜 💜 💜 💜 💜 💜 💜 💜
SPONSOR: 1 Hundred
MerKini
Grab your flippers and beach towel and make waves in this sexy swimwear.
Merkini set includes cute mermaid top, tight bikini bottoms and unrigged starfish.
Rigged for Maitreya and Petite, Hourglass, Freya, Legacy & Kupra mesh bodies in Second Life.
Multiple color options and fatpack option are available.
💜 💜 💜 💜 💜 💜 💜 💜 💜 💜
SPONSOR: Atemporal
Glam Flow @ Beauty Event
The Glam Flow package is like a touch of magic for lovers of fashion and immortalizing memories. Consisting of three static poses and one animated mirror, it is perfect for creating short videos that capture the essence of style and elegance.
Here are a few reasons why you'll want to add Glam Flow to your collection:
1. Impeccable Quality: The poses have been carefully created to ensure smooth movements. Every detail was thought to capture the essence of the moment.
2. Versatility: Whether you're a fashion blogger, a shoe creator, or someone who simply loves capturing special moments, Glam Flow has options for everyone. Static poses let you freeze elegance, while animated mirror poses add dynamism and charm to your videos.
3. Affordable Price: For just 100L, you will have access to a package that elevates your visual creations. It is a worthwhile investment for those looking for exclusivity and style.
So, don't wait any longer! Visit the Atemporal Store and discover how Glam Flow can transform your memories into true works of art. 💫✨
💜 💜 💜 💜 💜 💜 💜 💜 💜 💜
SPONSOR: SHIMM
S H I M M CCLXXXVII @Dollholic Event
S H I M M LELUTKA EYES APPLIERS / B O M 💕💕💕
💜 You can apply the color on the right, left or both
💜 Unisex
💜 💜 💜 💜 💜 💜 💜 💜 💜 💜
Copyright © 2019 by Craig Paup. All rights reserved.
Any use, printed or digital, in whole or edited, requires my written permission.
You probably thought what I did: If I post to an award group that requires 3 awards, then I should expect 3 awards, on average. Obviously, any given photo will get more or less, but you figure on average you should get as much as you give, right? WRONG!!
I’ve done a systematic study of how many awards the different award groups give out, and the bottom line is this: The half of Flickrites who do actually give out rewards get nothing in return from the other half of the Flickrites who post and run.
If you’re posting and running, shame on you. If you’re posting and being honest, then you should check out the list below to see which award groups are best and worst.
Details of the study are below; I welcome any data that the group admins wish to share, or from anyone would like to validate these findings. I realize my sample is small and would like to get more data...
-----------
Purpose: Do you get as many rewards as you give in Flickr award groups?
Method: Sample 20 Flickr award groups. Go to page 24 and count the number of awards given to the first 12 pictures; this is deep enough in the pool that awards have stopped, but not so deep that many images have been pulled. I validated a sample of 12 was sufficient.
Result: From a total sample of 240 images posted to award groups, you get 59% of the awards you give out, or roughly you have to give two awards in order to get one. There is huge variation amongst the groups, as you’ll see in table below.
Discussion: At a practical level, it appears that there are two things that contribute to a higher percentage of reciprocity. First, group cohesion makes a difference—for example Shining Star has a relatively higher percentage because many of the members are contacts with each other. Second, a mechanical pool sweeper, if properly used, makes a HUGE difference, e.g. Global Village 2 and Flickr Hearts. The results also show that there are lots of Flickrites who don’t play by the rules. In the case of group awards, without a pool sweeper there is absolutely no penalty for posting and running because there’s no way to get caught.
Group averages… For example, A+++ has 70%, meaning that for every A+++ award you give, you get 0.7 back… Some of the averages are above 100% because of sampling error, and because of multiple invites.
My Winners, 116%
Better Than Good, 116%
Global Village 2, 110%
Flickr Hearts, 88%
A+++, 70%
The Other Village, 70%
Shining Star, 68%
Music to My Eyes, 64%
Dragon Fly, 63%
Flickr Stars (newer one), 62%
Flickr Rose, 60%
Flickr Special, 56%
Perfect Photographer, 40%
Abstract Art Awards, 40%
Photographers Gone Wild, 37%
Peoples Choice, 37%
Colour Art Awards, 30%
Eperke, 24%
Flickr Stars (older one), 20%
I Think This is Art, 7%
(Explore)
All it requires is for you to realize that you are responsible for all that you are and all that you are not, all that may happen to you and all that may not happen to you.
#nepal #nepal8thwonder #wow #wownepal #NepalIsBeautiful #explore #explorenepal #explorehimalayas #landscape #landscape_captures #mountains #adventure #trek #trekkinginnepal #VisitNepal #travelnepal #awesomenepal #himalayas #himalayasnepal #annapurna #annapurnaregion #annapurnarange #annapurnas #tourism
It looks much worse than it was, but still required a head for heights. This 24 mile marathon must easily fit within my all time best ten mountain hikes.
This particular day we set off early to complete the Dawson, Pitamaken loop, which has to be one of the most stupendous hikes I have ever undertaken. Our route would take us through forest for a few miles, alongside and way above a few isolated mountain lakes and then along a traverse which hugged the side of Flinsch Peak where this image was taken. Once we reached the bealach around the far side I dumped my rucksack and scooted off up to the summit of this wonderfully remote nine thousand foot peak. My issue here was that no one else wanted to extend the climb so whilst they disgruntledly waited for me to return they chose to partially fill my ruck sack with rocks. It was only six miles later when I realised what they had done. Had my hiking pals done right adding to my load, well they would say so given the fact that we missed the last boat of the day back to the campsite and had to walk. In fact matters became worse when we realised the track around the short side of Two Medicine Lake was closed due to bear activety, so instead we had to take the additional five mile route the long way back. I wasn't popular, but then I was the only one who had climbed anything that day.
As we pulled the cover over my car, I spotted this dead bee on the fabric. I hadn't seen one like it before. I looked in my bee book and think it is Lipotriches (Austronomia) australica. While I was sad to see it had died in the folds of the cover, it did provide me a great opportunity to photograph it closely. It reminded me of those big displays in museums, only this one didn't have a pin stuck through it!
Aerotropolis is a photography project documenting the transformation of Taoyuan Aerotropolis near Taiwan Taoyuan International Airport. Spanning 4,500 hectares, it's one of Taiwan's largest developments, promising economic growth but requiring the relocation of 40,000 people. The photographer captures the haunting remnants of abandoned houses, preserving moments of a community disappearing due to progress.
---
---
The Assumption of the Blessed Virgin, Ufford, Suffolk
They told her how, upon St. Agnes' Eve,
Young virgins might have visions of delight,
And soft adorings from their loves receive
Upon the honey'd middle of the night,
If ceremonies due they did aright;
As, supperless to bed they must retire,
And couch supine their beauties, lily white;
Nor look behind, nor sideways, but require
Of Heaven with upward eyes for all that they desire.
John Keats, Eve of St Agnes, 1820
Upper Ufford is a pleasant place, and known well enough in Suffolk. Pretty much an extension northwards of Woodbridge and Melton, it is a prosperous community, convenient without being suburban. Ufford Park Hotel is an enjoyable venue in to attend professional courses and conferences, and the former St Audrey's mental hospital grounds across the road are now picturesque with luxury flats and houses. And I am told that the Ufford Park golf course is good, too, for those who like that kind of thing.
But as I say, that Ufford is really just an extension of Melton. In fact, there is another Ufford. It is in the valley below, more than a mile away along narrow lanes and set in deep countryside beside the Deben, sits Lower Ufford. To reach it, you follow ways so rarely used that grass grows up the middle. You pass old Melton church, redundant since the 19th century, but still in use for occasional exhibitions and performances, and once home to the seven sacrament font that is now in the plain 19th century building up in the main village. Eventually, the lane widens, and you come into the single street of a pretty, tiny hamlet, the church tower hidden from you by old cottages and houses. In one direction, the lane to Bromeswell takes you past Lower Ufford's delicious little pub, the White Lion. A stalwart survivor among fast disappearing English country pubs, the beer still comes out of barrels and the bar is like a kitchen. I cannot think that a visit to Ufford should be undertaken without at least a pint there. And, at the other end of the street, set back in a close between cottages, sits the Assumption, its 14th century tower facing the street, a classic Suffolk moment.
The dedication was once that of hundreds of East Anglian churches, transformed to 'St Mary' by the Reformation and centuries of disuse before the 19th century revival, but revived both here and at Haughley near Stowmarket. In late medieval times, it coincided with the height of the harvest, and in those days East Anglia was Our Lady's Dowry, intensely Catholic, intimately Marian.
The Assumption was almost certainly not the original dedication of this church. There was a church here for centuries before the late middle ages, and although there are no traces of any pre-Conquest building, the apse of an early-Norman church has been discovered under the floor of the north side of the chancel. The current chancel has a late Norman doorway, although it has been substantially rebuilt since, and in any case the great glories of Ufford are all 15th century. Perhaps the most dramatic is the porch, one of Suffolk's best, covered in flushwork and intriguing carvings.
Ufford's graveyard is beautiful; wild and ancient. I wandered around for a while, spotting the curious blue crucifix to the east of the church, and reading old gravestones. One, to an early 19th century gardener at Ufford Hall, has his gardening equipment carved at the top. The church is secretive, hidden on all sides by venerable trees, difficult to photograph but lovely anyway. I stopped to look at it from the unfamiliar north-east; the Victorian schoolroom, now a vestry, juts out like a small cottage. I walked back around to the south side, where the gorgeous porch is like a small palace against the body of the church. I knew the church would be open, because it is every day. And then, through the porch, and down into the north aisle, into the cool, dim, creamy light.
On the afternoon of Wednesday, 21st August 1644, Ufford had a famous visitor, a man who entered the church in exactly the same way, a man who recorded the events of that day in his journal. There were several differences between his visit and the one that I was making, one of them crucial; he found the church locked. He was the Commissioner to the Earl of Manchester for the Imposition in the Eastern Association of the Parliamentary Ordinance for the Demolishing of Monuments of Idolatry, and his name was William Dowsing.
Dowsing was a kind of 17th century political commissar, travelling the eastern counties and enforcing government legislation. He was checking that local officials had carried out what they were meant to do, and that they believed in what they were doing. In effect, he was getting them to work and think in the new ways that the central government required. It wasn't really a witch hunt, although God knows such things did exist in abundance at that time. It was more as if an arm of the state extended and worked its fingers into even the tiniest and most remote parishes. Anyone working in the public sector in Britain in the early years of the 21st century will have come across people like Dowsing.
As a part of his job, Dowsing was an iconoclast, charged with ensuring that idolatrous images were excised from the churches of the region. He is a man blamed for a lot. In fact, virtually all the Catholic imagery in English churches had been destroyed by the Anglican reformers almost a hundred years before Dowsing came along. All that survived was that which was difficult to destroy - angels in the roofs, gable crosses, and the like - and that which was inconvenient to replace - primarily, stained glass. Otherwise, in the late 1540s the statues had been burnt, the bench ends smashed, the wallpaintings whitewashed, the roods hauled down and the fonts plastered over. I have lost count of the times I have been told by churchwardens, or read in church guides, that the hatchet job on the bench ends or the font in their church was the work of 'William Dowsing' or 'Oliver Cromwell'. In fact, this destruction was from a century earlier than William Dowsing. Sometimes, I have even been told this at churches which Dowsing demonstrably did not visit.
Dowsing's main targets included stained glass, which the pragmatic Anglican reformers had left alone because of the expense of replacing it, and crosses and angels, and chancel steps. We can deduce from Dowsing's journal which medieval imagery had survived for him to see, and that which had already been hidden - not, I hasten to add, because people wanted to 'save' Catholic images, but rather because this was an expedient way of getting rid of them. So, for example, Dowsing visited three churches during his progress through Suffolk which today have seven sacrament fonts, but Dowsing does not mention a single one of them in his journal; they had all been plastered over long ago.
In fact, Dowsing was not worried so much about medieval survivals. What concerned him more was overturning the reforms put in place by the ritualist Archbishop Laud in the 1630s. Laud had tried to restore the sacramental nature of the Church, primarily by putting the altar back in the chancel and building it up on raised steps. Laud had since been beheaded thanks to puritan popular opinion, but the evidence of his wickedness still filled the parish churches of England. The single order that Dowsing gave during his progress more than any other was that chancel steps should be levelled.
The 21st of August was a hot day, and Dowsing had much work to do. He had already visited the two Trimley churches, as well as Brightwell and Levington, that morning, and he had plans to reach Baylham on the other side of Ipswich before nightfall. Much to his frustration, he was delayed at Ufford for two hours by a dispute between the church wardens over whether or not to allow him access.
The thing was, he had been here before. Eight months earlier, as part of a routine visit, he had destroyed some Catholic images that were in stained glass, and prayer clauses in brass inscriptions, but had trusted the churchwardens to deal with a multitude of other sins, images that were beyond his reach without a ladder, or which would be too time-consuming. This was common practice - after all, the churchwardens of Suffolk were generally equally as puritan as Dowsing. It was assumed that people in such a position were supporters of the New Puritan project, especially in East Anglia. Dowsing rarely revisited churches. But, for some reason, he felt he had to come back here to make sure that his orders had been carried out.
Why was this? In retrospect, we can see that Ufford was one of less than half a dozen churches where the churchwardens were uncooperative. Elsewhere, at hundreds of other churches, the wardens welcomed Dowsing with open arms. And Dowsing only visited churches in the first place if it was thought there might be a problem, parishes with notorious 'scandalous ministers' - which is to say, theological liberals. Richard Lovekin, the Rector of Ufford, had been turned out of his living the previous year, although he survived to return when the Church of England was restored in 1660. But that was in the future. Something about his January visit told Dowsing that he needed to come back to Ufford.
Standing in the nave of the Assumption today, you can still see something that Dowsing saw, something which he must have seen in January, but which he doesn't mention until his second visit, in the entry in his journal for August 21st, which appears to be written in a passion. This is Ufford's most famous treasure, the great 15th century font cover.
It rises, six metres high, magnificent and stately, into the clerestory, enormous in its scale and presence. In all England, only the font cover at Southwold is taller. The cover is telescopic, and crocketting and arcading dances around it like waterfalls and forests. There are tiny niches, filled today with 19th century statues. At the top is a gilt pelican, plucking its breast.
Dowsing describes the font cover as glorious... like a pope's triple crown... but this is just anti-Catholic innuendo. The word glorious in the 17th century meant about the same as the word 'pretentious' means to us now - Dowsing was scoffing. But there was no reason for him to be offended by it. The Anglicans had destroyed all the statues in the niches a century before, and all that remained was the pelican at the top, pecking its breast to feed its chicks. Dowsing would have known that this was a Catholic image of the Sacrifice of the Mass, and would have disapproved. But he did not order the font cover to be destroyed. After all, the rest of the cover was harmless enough, apart from being a waste of good firewood, and the awkwardness of the Ufford churchwardens seems to have put him off following through. He never went back.
Certainly, there can have been no theological reason for the churchwardens to protect their font cover. I like to think that they looked after it simply because they knew it to be beautiful, and that they also knew it had been constructed by ordinary workmen of their parish two hundred years before, under the direction of some European master designer. They protected it because of local pride, and amen to that. The contemporary font beneath is of a type more familiar in Norfolk than Suffolk, with quatrefoils alternating with shields, and heads beneath the bowl.
While the font cover is extraordinary, and of national importance, it is one of just several medieval survivals in the nave of the Assumption. All around it are 15th century benches, with superbly characterful and imaginative images on their ends. The best is the bench with St Margaret and St Catherine on it. This was recently on display at the Victoria and Albert Museum as part of the Gothic exhibition. Other bench end figures include a long haired, haloed woman seated on a throne, which may well be a representation of the Mother of God Enthroned, and another which may be the Coronation of the Queen of Heaven. There is also a praying woman in a butterfly headdress, once one of a pair, and a man wearing what appears to be a bowler hat, although I expect it is a helmet of some kind. His beard is magnificent. There are also a number of finely carved animals.
High up in the chancel arch is an unusual survival, the crocketted rood beam that once supported the crucifix, flanked by the grieving Mary and John, with perhaps a tympanum behind depicting the last judgement. These are now all gone, of course, as is the rood loft that once stood in front of the beam and allowed access to it. But below, the dado of the screen survives, with twelve panels. Figures survive on the south side. They have not worn well. They are six female Saints: St Agnes, St Cecilia, St Agatha, St Faith, St Bridget and, uniquely in England, St Florence. Curiously, the head of this last has been, in recent years, surrounded by stars, in imitation of the later Our Lady of the Immaculate Conception. Presumably this was done in a fit of Anglo-catholic enthusiasm about a century ago.
The arrangement is similar to the south side of the screen at Westhall, and it may even be that the artist was the same. While there is no liturgical reason for having the female Saints on one side and, presumably, male Saints on the other, a similar arrangement exists on several Norfolk screens in the Dereham area.
Much of the character of the church today comes from it embracing, in the early years of the 20th century, Anglo-catholicism in full flood. As at Great Ryburgh in Norfolk, patronage ensured that this work was carried out to the very highest specification under the eye of the young Ninian Comper. Comper is an enthusiast's enthusiast, but I think he is at his best on a small scale like here and Ryburgh. His is the extraordinary war memorial window in the south aisle chapel, dedicated to St Leonard. It depicts Christ carrying his cross on the via dolorosa, but he is aided by a soldier in WWI uniform and, behind him, a sailor. The use of blues is very striking, as is the grain on the wood of the cross which, incidentally, can also be seen to the same effect on Comper's reredos at Ryburgh.
Comper's other major window here is on the north side of the nave. This is a depiction of the Annunciation, although it is the figures above which are most extraordinary. They are two of the Ancient Greek sibyls, Erythrea and Cumana, who are associated with the foretelling of Christ. At the top is a stunning Holy Trinity in the East Anglian style. There are angels at the bottom, and all in all this window shows Comper at the height of his powers.
Stepping into the chancel, there is older glass - or, at least, what at first sight appears to be. Certainly, there are some curious roundels which are probably continental 17th century work, ironically from about the same time that Dowsing was here. They were probably acquired by collectors in the 19th century, and installed here by Victorians. The image of a woman seated among goats is curious, as though she might represent the season of spring or be an allegory of fertility, but she is usually identified as St Agnes. It is a pity this roundel has been spoiled by dripping cement or plaster. Another roundel depicts St Sebastian shot with arrows, and a third St Anthony praying to a cross in the desert. However, the images in 'medieval' glass in the east window are entirely modern, though done so well you might not know. A clue, of course, is that the main figures, St Mary Salome with the infants St James and St John on the left, and St Anne with the infant Virgin on the right, are wholly un-East Anglian in style. In fact, they are 19th century copies by Clayton & Bell of images at All Souls College, Oxford, installed here in the 1970s. I also think that the images of heads below may be modern, but the angel below St Anne is 15th century, and obviously East Anglian, as is St Stephen to the north.
High above, the ancient roofs with their sacred monograms are the ones that Dowsing saw, the ones that the 15th century builders gilt and painted to be beautiful to the glory of God - and, of course, to the glory of their patrons. Rich patronage survived the Reformation, and at the west end of the south aisle is the massive memorial to Sir Henry Wood, who died in 1671, eleven years after the end of the Commonwealth. It is monumental, the wreathed ox heads a severely classical motif. Wood, Mortlock tells us, was Treasurer to the Household of Queen Henrietta Maria.
There is so much to see in this wonderful church that, even visiting time and time again, there is always something new to see, or something old to see in a new way. It is, above all, a beautiful space, and although it no longer maintains its high Anglo-catholic worship tradition, it is is still kept in high liturgical style. It is at once a beautiful art object and a hallowed space, an organic touchstone, precious and powerful.
it would appear i am going to require quite a few more thrifted plastic flowers to make my kitschy back yard plan succeed.
therefore i am left with no choice but to take another trip to the thrift store... woe is me ;)