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Typical street in St Johns - very colorful buildings. It was also sub-zero and the bay actually froze over
St. Lucia ....Our ship cruised around the bay at sunset viewing the amazing Pitons to the East and this breathtaking sunset to the West
Modelo: Carla A.
Fotógrafo: Hugo Sifuentes Domenack
Producción y Casting: STigma Producciones
Locación: STigma Photo Studio
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(No se permite la publicación, total ni parcial de la presente imagen sin consentimiento previo del autor)
Realizado el: 19 de Noviembre de 2014
St Mary's, Lydiard Tregoze, Wiltshire
The inner triptych was created by John St John, 1st Baronet in memory of his parents. In the centre is his father and mother (John St John and Lucy Hungerford)kneeling on a tomb. Infront of the tomb are three coffins to recognise the death of their 2 other sonsand daughter:
Walter (1583-1597)
Oliver (1586-1594)
Ellinor (1580)
On the left hand side of the central figure are the Baronet with his first wife Ann Leighton, and on the left are his six survivng sisters.
John St John was the son of Nicholas St John and Elizabeth Blount born in 1552 and died in 1594.
Lucy Hungerford was born 1560 at farley, Berkshire to Sir Walter Hungerord, speaker of the commons, and Anne Basset.
She firstly married John St John in 1584 with whom she had 10 children. When he died in Sept 1594 she married a distante cousin Sir Anthony Hungerford with whom she had 3 more children. She died 1627.
John St John was born 5 November 1585 to John St John and Lucy Hungeford.
He graduated from Trinity college, Oxford in April 1601 and then went to Lincolns Inn in 1604.
In Feb 1608 he was knighted at Whitehall and on the 22 May 1611 he was created 1st Baronet after paying James I £1095 for the privalge.
In the 1630s his uncle, Lord Grandison died, and as a result he inherited the estates of Battersea and Wandsworth.
1624-5 he became MP for Wiltshire and 1632-3 he was made High Sheriff of Wiltshire.
The family was heavily involved during the civil War, and were staunch Royalists. During the conflict they would lose three of their sons:
William was killed during the taking of Cirencester, Gloucestershire, under the command of Prince Rupert.
Edward (the golden cavalier) was badly wounded at the second battle of Newbury and died as a result six months later.
John, died in the North.
Only 2 of his 8 sons would survive him.
st John himself died in 1648.
Anne Leighton was born in Guernsey in Oct 1591 to Sir thomas Leighton of Feckenham, Worcestershire (Governor of Jersey and Guernsey) and Elizabeth Knollys. She was well educated and married St John 9 july 1604 at the age of 13.
She died July 1628 two months after the birth of her final baby (Henry) who survived.
Sisters:
The second sister in is said to be Ann, born 1592 she married Sir George Aycliffe in 1610 and had 12 children. She died in 1629 and was buried in the family vault with her husband and eldest daughter.
Lucy was born 1589 and married Sir Allen Apsley, founder of the Nw England Company, in 1615. When he died she married Sir Leventhorpe Francke in 1632. She died 11 Oct 1668 aged 69.
Katherine married Sir Giles Mompesson in 1606 and died in 1633. Her monument is opposit but was not erected by the Baronet but by her husband.
Barbara was born 1588 and married Sir Edward Villiers in 1605 aged 17. She died in Sept 1672 aged 84 and was buried in Westminster Abbey.
Jane (1592-1654)
Martha (1593-1600)
The outer covering panels are decorated with the family tree and was added between 1683-1718.
The inscription reads:
"when conquering William won by force of sword: this famous island now called Brittons land;
Of Lydiard then was Ewyas only Lord, whose heir to Tregoz linck't in marriage band;
That Tregoz a great Baron in his age; by her hand issue the Lord Grauntsons wife; whose daughter Patshull took in marriage, and Beachamp theirs with Beauchamp happy life;
Was blessd with a daughter whence did spring, an heir to St John who did Lydiard bring;
Thus consle of tyme by Gods Almighty power, hath kept this land of Lydiard in one race.
Five hundred forty nine year and now more, where at this day is St Johns dwelling place;
Noe, noe he dwells in heaven, whose anchored faith, fired on God accounted life but death."
"Some Ancient remains of Sir Richard St George, knight Garter King at Arms relating to ye pedigree of St John written in ye year 1615 and now transcribed this present year 1694."
Richard St George was the Baronets uncle and was Clarenceaux king of Arms.
The portrait at the top of the panel is to represent to beginning of the line with Margaret Beauchamp of Bletso, (Henry VII grandmother).
She was born in 1405 the daughter of John Beauchamp of Bletso and Edith stourton.
Her first husband was Oliver St John who she married in 1425 with whome she had 2 sons and 4 daughters.
When St John died in 1437 she remarried in 1439 this time to John Beaufort, 1st Duke of Somerset with whom she had her daughter Margaret, the mother of Henry VII.
In 1447 she took her third husband, Lionel de welles, 6th Baron Welles, lord Lieutenant of Ireland, with whom she had a further daughter and son.
St Matthew is depicted with the angel, one of the symbols of the four Evangelists.
From the east window, designed by Burne Jones and made by Morris & Co. of the pre-Raphaelite school, installed in the then-Unitarian chapel of Manchester College, Oxford.
St Luke's is an Anglican church in Clifford, West Yorkshire, England, part of the New Ainsty Deanery. It is one of three churches in Clifford; the second largest after St. Edward King and Confessor.
Of the three churches in Clifford, St Luke's is the oldest having completed in 1842. The church was designed by John Bownas and William Atkinson and part financed by the Lane-Fox family of Bramham Park who also donated the land. The first stone was laid on St Luke's Day, 18 October 1840 and it opened in June 1842 having cost £1500 to build. The church was Grade II listed in 1988.
The church is of a cruciform platform and of a Gothic Revival nature. Built of magnesian limestone, it has a pitched slate roof. The tower is situated to the western end of the church. The tower is of two stages and originally had four pinnacles atop, these however were deemed unsafe and removed in 1905 (a similar fate later fell on nearby St. James' Church).
en.wikipedia.org/wiki/St_Luke%27s_Church,_Clifford,_West_...
St. Nicholas. Abandoned Ukrainian church, near Melfort Saskatchewan. Shot on HP5 4x5. Developed in Pyrocat-HD.
St John the Baptist, Timberhill, Norwich, Norfolk
On the edge of the central shopping area, the small church of St John Timberhill as it is known has an understated exterior which conceals a gorgeous high Anglo-Catholic interior. The building had fallen on hard times by the 19th century, for the tower had collapsed in the 1780s, the roof was full of holes, and so there was a massive restoration in the 1860s to bring it back from the brink. It was at this time that the church was ordered for its extreme High Church worship. The Victorians put little dormer windows in the new roof and rebuilt the chancel, replaced most of the windows, and put a little stone bell turret at the west end.
Threatened with redundancy by the Brooke Report, St John the Baptist's modern incarnation as a working church dates back to the early 1980s, when it was designated the main church for the Anglican Diocese's new Parmentergate parish, which covers a wedge shape southwards from the town centre containing the predominantly working class King Street and Rouen Road areas. This wedge was originally served by about a dozen medieval parish churches but otherwise only St Julian in the parish has also been retained for worship.
You step through the disproportionately large 15th Century porch into a wide, aisled building full of space and light enhanced by the modern chairs and devotional statues and shrines. The most memorable features are perhaps in 20th Century glass. Martin Travers' Blessed Virgin and Child in the south aisle came here from the east window at All Saints when that was declared redundant. Dating from 1910 it is one of Travers' earliest works of all, designed and made when he had just left the Royal College of Art and was working as an assistant to Ninian Comper. A little later, and more accomplished perhaps, is the east window in the Walsingham chapel, a curious depiction of the Ascension in the style of a Crucifixion, Christ's arms outstretched and St John and the Blessed Virgin watching from below as if they were at the foot of the cross. This is attributed in some sources to Travers as well, but is actually the work of Herbert Hendrie.
Also memorable is the 16th century continental candelabra with its image of the Assumption of the Blessed Virgin which hangs in the south aisle. There are a couple of near-contemporary but restored Norwich angels in the glass on the south side. The 19th century reredos is resplendent in paint and gold, and the parish war memorial asks us of our charity to pray for the souls of the dead, a reminder of the church's Anglo-catholic enthusiasm.
19th century shops screen the castle from the church, but this was the closest church to the Castle entrance, and at one time was known as St John Castlegate. It is said that executed prisoners from the Castle were buried here at this church. Now, the Castle Mall shopping centre has brought St John the Baptist back into the heart of the city.
Landscape Photography by Pete Barnes taken around London.
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I was in London a few days ago and thought I would take the camera out and do a bit of Landscape or Cityscape photography, I had originally gone out for some architectural photography but it soon changed to cityscapes. London has to many iconic buildings so I wanted to photograph a few of my favourites. I got most of the ones on my list, namely St Pauls Cathedral, Tower bridge and Battersea Power Station. I also did a few of the Shard and the Mayors office, didn’t get chance to get any of Big Ben or Parliament.
I knew I would be out taking photographs most of the day and there would be a large amount of water (river Thames) and sky in a lot of the shots. As I am a big fan of long exposure the Lee big Stopper filter was an essential bit of kit. I was also using a circular polariser to pop the clouds a little and a 2 stop grad as I wanted the sky to be quite saturated for the conversion to black and white. So this was pretty much my filter set up for the day. I had a cable release as most of the day was shot on bulb mode with exposures between 1-3 minutes aperture was typically f/16 and ISO was between 50-200. A lot of the tweaks to exposure were just done by checking out the histogram and the LCD to see how a shot was looking. I also had my camera to shoot in B&W as it helped visualising the final shot, I was still in RAW so all colour information was kept.
More from this shoot at my blog: www.petebarnesphotography.co.uk/2013/05/19/black-and-whit...
Quickly snatched on my mobile while hurrying to meet someone last night.
#28 Blue hour/Golden hour for 116 pictures in 2016 group.
I had never been to the St. Johns bridge before. The ten minutes spent this visit were not enough.
Copyright 2012 Nick Kanta
All rights reserved.
The church of St Andrew, Trent, Dorset.
Listed Grade I.
Nave and north chapel of thirteenth century origin, altered and extended.
South tower and porch added early fourteenth century.
Chancel rebuilt in fifteenth century, when nave lengthened. Repairs of 1694 and 1729 (panels on south wall). Restoration of 1840. Organ
chamber and west vestry, nineteenth century additions.
Rubble-stone and ashlar walls. Stone slate and slate roofs, with gable-copings.
Nave has two fifteenth century three-light windows to north and south walls, much restored.
Immediately east of the eastern window are the E. splay and part of the cill of a medieval window, straight joint between the two indicating former extent of nave. fifteenth century west window is of three cinquefoiled lights with vertical tracery in a pointed head, with a moulded label and returned stops.
West doorway into vestry.
South tower, of three stages with angle buttresses with set-offs, finished with a trefoiled corbel-table with head corbels, a parapet of pierced quatrefoils and angle-pinnacles.
East wall of tower: ground window of two trefoiled lights with pointed trefoils and Y-tracery head. two-light window with Y-tracery to winging-chamber. Tall two-light window with Y-tracery and quatrefoil
in head, stone tracery to bell-openings. All have labels and head-stops.
South wall has a three-light window with trefoiled lights and geometrical tracery in head; the windows above are are similar to the east wall. Access to turret staircase in S.W. angle of tower, externally. N. wall of tower has a doorway to nave roof, with chamfered jambs and pointed head. Stone spire largely rebuilt, nineteenth century, octagonal
with ribbed angles.
South porch: outer archway, pointed and of one continuous chamfered order, moulded label and defaced head stops.
High pent roof against west face of the tower. Restored quatrefoil parapets.
The north chapel has a restored early fourteenth century E. window of three trefoiled ogee lights with tracery in a pointed head. Label and head-stops. North wall and windows are nineteenth century. West wall has a blocked lancet window, thirteenth century. Angle and clasping buttresses externally.
Chancel with diagonal and straight buttresses, and above them carved figures, fifteenth century.
East window is of four cinquefoiled ogee lights with vertical tracery in a pointed head. Label with returned stops. Both N. and S. walls have two windows of two lights, similar
design to E. window. West vestry, nineteenth century, of polygonal form, reset in the W. wall is a fifteenth century doorway with moulded jambs flanked by small square buttresses set diagonally.
Interior: Nave, north wall has fourteenth century archway, segmental pointed, to
N. chapel. Cavity in wall E. of this. E. wall has a fifteenth century lower doorway to the
road loft staircase, with moulded jambs and four-centred head. The upper doorway is square-headed.
Roofs: nave, mid-nineteenth century with depressed vaulting and angels holding Apostles' shields-of-arms at the springers. Porch, early fourteenth century of two bays, with moulded braces forming segmental arches, carved bosses, moulded corbels carved with heads and leaves.
Fittings: Rood-screen, oak, five bays including doorway, divided by grouped shafts supporting ribbed soffit of loft. Panelled
dado, six panels to a bay, with trefoiled ogee and crocketed heads, moulded and carved rail. Open upper panels of six cinquefoiled ogee lights with vertical tracery in pointed heads, fifteenth century.
Under arch to north chapel, low screen of oak, five bays divided by carved brackets, arched panels below and enriched above, mid-seventeenth century.
Doors: S. doorway, medieval. W. doorway, two leaves with four-centred head and panelled, fifteenth century. Pews and bench-ends, with moulded and panelled backs. Square-headed bench-ends carved with window-tracery, Apostles, symbols of Passion, etc, early sixteenth century. Some dated 1840 to match. Font-cover in tower, octagonal with base of quatrefoils and pierced traceried sides, fifteenth century.
Pulpit: octagonal, withcarved angles including figures, each face with cartouche below and figure-subject above, probably Dutch, c. 1600. Glass: chancel E. window, collection of sixteenth century and seventeenth century Swiss, German and other glass placed here in nineteenth century by Rev. Turner.
N. and S. windows have glass by Wailes, 1842, with figures of Apostles. Helmets, late sixteenth century and seventeenth century in north chapel.
Monuments, numerous, to Storke, 1530, Freestone effigies in N. chapel, both fourteenth century. Against arch to nave, monument of plain side-columns supporting an entablature with achievement-of-arms of Gerard impaling Coker, and painted decoration on respond at back. Soffit of arch above painted with a genealogical tree.
Seventeenth century monuments to Gerards, and to Sir Francis Wyndham, Bart, 1676.
Weathercock, on spire, copper with rounded body. On wings are the names of the rector, churchwardens, maker and date, George Gaylard, 1698.
We praise thee O God: we acknowledge thee to be the Lord. All the earth doth worship thee: the Father everlasting (the beginning of the Te Deum Laudamus).
The east window above the altar. The nearby description of it is as follows:
Starting at the top of the window (Tracery), the centre light depicts a symbolic representation of the Church in Heaven. The three angels indicate the three separate choirs of angels–the Governors (Dominions, Virtues and Powers), the Messengers and the Ministering Angels. There are in fact nine choirs, but Christian art normally depicts only these three.
The north and south tracery depict the Holy Seraphim (with six wings) and Cherubim (four wings). Jophiel is shown with a trumpet, with Uriel, the Angel of Judgement.
Moving down to the main lights,
Light 1 (north) depicts the Archangel Gabriel holding symbols of the Sun of Righteousness and the Crescent Moon, both of which are associated with the Annunciation and Uriel, the Angel of the Day of Judgement.
Light 2 depicts the Virgin Mary and Child.
Light 3 depicts the Christus Rex, the reigning Christ (Christ in Majesty) and the Alpha and Omega (the beginning and the end).
Light 4 (south) depicts Michael with flaming sword, the guardian of souls, and Raphael, the protector of pilgrims.
Below the figures of the Virgin and Child is depicted the Crucifixion and below Christ in Majesty, the Resurrection.
The figures in the lower areas of the four lights:
Light 1 Apostles St. Peter (holding the keys of Heaven), St. John the Evangelist (holding the Chalice), St. Paul (holding the book and sword).
Light 2 Prophets Malachi prophesying the arrival of the Son of Righteousness, John the Baptist heralding the coming of Christ, Isaiah “Arise, shine, for thy light is come.”
Light 3 Martyrs St. Agnes (carrying the Lamb), St. Stephen (carrying the stone), St. Alban (the first British martyr).
Light 4 Saints St. Marina (Merryn) (Celtic ornament on dress), St. Francis of Assisi (showing the stigmata), St. Patrick (with the ship at his feet).
The window was designed by George Cooper-Abbs in 1934 and made by J Wippell & Co of Exeter. The marks of Cooper-Abbs and Wippell are at the bottom left of the right-hand light. The Faculty for the window was issued on 24th October 1934 (Cornwall Record Office refs D/R/12/25 and D/R/104/1-2), and the petition for the Faculty includes a drawing of it signed by Cooper-Abbs.