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98908 & 98958 spray their way through Sutton Coldfield working a West Midlands RHTT cirucit based on Kings Norton
Truly magnificent workmanship! Found in the Anglo-Saxon ship burial at Sutton Hoo in Suffolk. Thought to be the grave of Raedwald, King of East Anglia who died in 625 AD.
British Museum
Sutton Scarsdale Hall sits about a mile West of the M1 motorway, just North of J29, from where it looks northeast, across the valley, towards Bolsover Castle. The Hall’s history and how it came to be an empty shell are far too complex to summarise. Rather, just Google it. It makes for some fascinating reading!
Burtons of Alfreton N668THO Volvo B10M-62 Plaxton Premiere coach at Sutton in Ashfield on 4 May 2018.
New as XEL65 to Excelsior Bournemouth.
98908 & 98958 spray their way through Sutton Coldfield working a West Midlands RHTT cirucit based on Kings Norton
Sutton Scarsdale Hall was built in the Baroque style on the site of an existing house between 1724 and 1729 for the 4th Earl of Scarsdale. The architect for the new hall was Francis Smith of Warwick, who skillfully incorporated the earlier building of about 1469 within his design.
Notable craftsmen were employed here. Edward Poynton of Nottingham carved the exterior stonework and the Italian master craftsmen Arturi and Vasalli carried out the fine stucco (plasterwork) detailing in the principal rooms, remnants of which can still be seen.
Grinling Gibbons is believed to have contributed some of the interior wood carvings. The cost of this splendid building left the Scarsdale heirs with depleted funds and they were eventually forced to sell the hall in the 19th century.
John Arkwright, a descendant of the industrialist Richard Arkwright, bought the hall, but in 1919 the family sold it to a company of asset strippers.
Many of its finely decorated rooms were sold off as architectural salvage and the house was reduced to a shell. Some rooms still exist: three interiors are displayed at the Museum of Art in Philadelphia.
A pine-panelled room is at the Huntington Library, California. It was offered to the Huntington by a Hollywood film producer who had used it as a set for a film, Kitty, in 1934. He had bought it from William Randolph Hearst, the newspaper magnate and well-known collector.
The ruins of the hall were saved from demolition by the writer Sir Osbert Sitwell, who bought it in 1946 after he had heard of the impending sale to dismantle the stonework. In 1970 descendants of the Sitwells persuaded the Department of the Environment to take the building into guardianship and preserve it for the nation.
A recent programme of works has been undertaken by English Heritage to preserve and protect the fragments of the original stucco interior.
The ruins of Sutton Scarsdale Hall, with tantalising remnants of a once majestic interior, offer the visitor an opportunity to view the ‘skeleton’ of the building – impossible in more complete country houses. The approach to the hall today is along a narrow driveway. Its spectacular location on a hillside is immediately apparent.
The roofless hall is built of mellow sandstone and stands to its original parapet height. Some areas of stonework have been lost at this level, giving an almost castellated appearance from a distance.
The hall was built with two impressive façades. The eastern front is the grandest, with exuberant Baroque detail typified by attached giant Corinthian columns topped with a central pediment. The central bays housed the formal drawing room. Elements of the 15th century structure such as blocked window openings in earlier brickwork can be seen in this room and in the one behind it.
The slightly plainer north elevation housed the entrance hall, which contains remnants of stucco work. The remains of the paired Ionic pilasters with wreathed swags are clearly visible, as are the remains of the chimney pieces incorporating carved figures.
www.english-heritage.org.uk/visit/places/sutton-scarsdale...
The weather was glorious in Plymouth yesterday. It's lunchtime outside of the Three Crowns, and everyone was enjoying the sunshine.
Sutton Scarsdale Hall was built in the Baroque style on the site of an existing house between 1724 and 1729 for the 4th Earl of Scarsdale. The architect for the new hall was Francis Smith of Warwick, who skillfully incorporated the earlier building of about 1469 within his design.
Notable craftsmen were employed here. Edward Poynton of Nottingham carved the exterior stonework and the Italian master craftsmen Arturi and Vasalli carried out the fine stucco (plasterwork) detailing in the principal rooms, remnants of which can still be seen.
Grinling Gibbons is believed to have contributed some of the interior wood carvings. The cost of this splendid building left the Scarsdale heirs with depleted funds and they were eventually forced to sell the hall in the 19th century.
John Arkwright, a descendant of the industrialist Richard Arkwright, bought the hall, but in 1919 the family sold it to a company of asset strippers.
Many of its finely decorated rooms were sold off as architectural salvage and the house was reduced to a shell. Some rooms still exist: three interiors are displayed at the Museum of Art in Philadelphia.
A pine-panelled room is at the Huntington Library, California. It was offered to the Huntington by a Hollywood film producer who had used it as a set for a film, Kitty, in 1934. He had bought it from William Randolph Hearst, the newspaper magnate and well-known collector.
The ruins of the hall were saved from demolition by the writer Sir Osbert Sitwell, who bought it in 1946 after he had heard of the impending sale to dismantle the stonework. In 1970 descendants of the Sitwells persuaded the Department of the Environment to take the building into guardianship and preserve it for the nation.
A recent programme of works has been undertaken by English Heritage to preserve and protect the fragments of the original stucco interior.
The ruins of Sutton Scarsdale Hall, with tantalising remnants of a once majestic interior, offer the visitor an opportunity to view the ‘skeleton’ of the building – impossible in more complete country houses. The approach to the hall today is along a narrow driveway. Its spectacular location on a hillside is immediately apparent.
The roofless hall is built of mellow sandstone and stands to its original parapet height. Some areas of stonework have been lost at this level, giving an almost castellated appearance from a distance.
The hall was built with two impressive façades. The eastern front is the grandest, with exuberant Baroque detail typified by attached giant Corinthian columns topped with a central pediment. The central bays housed the formal drawing room. Elements of the 15th century structure such as blocked window openings in earlier brickwork can be seen in this room and in the one behind it.
The slightly plainer north elevation housed the entrance hall, which contains remnants of stucco work. The remains of the paired Ionic pilasters with wreathed swags are clearly visible, as are the remains of the chimney pieces incorporating carved figures.
www.english-heritage.org.uk/visit/places/sutton-scarsdale...
All saints, Sutton, Suffolk
It is unusual for a village to have a building of greater antiquity than its parish church, but the age of the largely Victorian-rebuilt All Saints at Sutton pales into insignificance in comparison with the barrows at Sutton Hoo, to the north of the village. Here, during the 1940s, Basil Brown of Ipswich Museum excavated a huge Anglo-Saxon ship burial, probably the final resting place of Redwald, King of East Anglia. The treasures are now in the British Museum, the burial helmet most familiar among them. It is easy to imagine Redwald's final journey across the heathland from Rendlesham, to this wild bluff overlooking the Deben. And it is possible to visit the Sutton Hoo site, where there is a fascinating museum and excavations are still in progress.
But All Saints is also worthy of investigation. So often, you see a fine medieval church, and go in to the crushing disappointment of a complete Victorianisation. All Saints at Sutton is quite the opposite. This mainly Victorian church conceals one of the finest and most interesting fonts in the county. There is nothing quite like it in all East Anglia. It has the eight orders of the pre-Reformation church around the base, figures representing deacons, priests, bishops and the like. The supporting angels corbelling the bowl have, between them, the instruments of the Mass; paten, chalice, missal, and so on.The figures on the bowl are the four evangelists, interspersed with Gabriel and Mary at the Annunciation, Mary Magdalene, and a very rare God the Father, the old man himself, seated on his throne.
The rest of the church is neat and pleasant enough, a typical work by Richard Phipson, one of his earliest in the county. And even if he hadn't refurbished it, there wouldn't be much that was medieval left here, because the whole thing burned down early in the 17th century. One survival of the fire is the brass inscription to William Burwell, who died in 1596 at the age of eighty. He would have been witness to the whole turbulent process of the Reformation, and the forging of early modern England. The brass is now mounted on the west wall, which makes it easy to view, but also means that it would not survive a fire today.
There is decent glass from the Clayton & Bell workshop in the nave and chancel, but the east window design by William Warrington is the star of the show. He signed it in strapwork along the bottom, telling us that he both designed and painted it. The rood loft stair opens quite high in the north wall, and must have been an impressive sight in this narrow, aisleless interior. The chancel roof beams are picked out nicely between white plaster, which becomes a ceilure in the nave with just the main beams showing, which is very effective. The difference creates the effect of a wide and spacious chancel.
The Millennium project here was a little wooden belfry that stands to the south of the chancel. It replaced a previous smaller turret, and is rather more ambitious than the one at nearby Alderton, but it seems a shame that you can't see the bell inside. But all in all, what a super little church this is. Today, it is little-known, I suppose, but any ghosts here might well have American accents: we are only a mile or so here from the northern edge of the former USAAF Woodbridge base, with Bentwaters beyond that, and during the Cold War these lonely lanes reverberated to the sounds of Air Force activity. It seems strange to think of it now.
Six Bells Jn :-
40009Manchester Victoria - Miles Platting - Rochdale - Elland - Mirfield - Dewsbury - Leeds
40009Leeds - Gelderd Road Jn - Wakefield Westgate - South Kirby Jn - Moorthorpe - Rotherham Masborough - Treeton North Jn - Tinley Yard - Broughton Lane Jn - Woodburn Jn - Nunnery Main Line Jn - Sheffield - Chesterfield - Clay Cross South Jn - Pye Bridge Jn - Trowell Jn - Toton - Trent - Loughborough - Leicester - Hinckley - Midland Jn - (via Nuneaton station avoiding line) - Abbey Jn - Water Orton - Landor Street Jn - Proof House Jn - Birmingham New Street - Tipton - Wolverhampton - Wellington - (via Abbey Foregate Curve) - English Bridge Jn - Sutton Bridge Jn - Welshpool - Aberystwyth
40009Aberystwyth - (reverse of outward route) - English Bridge Jn - Shrewsbury - Nantwich - Crewe - Stockport - Manchester Piccadilly
40143Manchester Piccadilly - Ashburys - ?Reddish North? - Romiley - Marple - New Mills Central - Chinley - Edale - Dore - Sheffield - Nunnery Main Line Jn - Rotherham Masborough - Aldwarke Jn - Moorthorpe - South Kirby Jn - Hare Park Jn - Oakenshaw Jn - Calder Bridge Jn - Wakefield Kirkgate - Horbury Jn - Healey Mills - Mirfield - Huddersfield - Stalybridge - Ashton Moss North Jn - Baguley Fold Jn - Miles Platting - Manchester Victoria
All saints, Sutton, Suffolk
It is unusual for a village to have a building of greater antiquity than its parish church, but the age of the largely Victorian-rebuilt All Saints at Sutton pales into insignificance in comparison with the barrows at Sutton Hoo, to the north of the village. Here, during the 1940s, Basil Brown of Ipswich Museum excavated a huge Anglo-Saxon ship burial, probably the final resting place of Redwald, King of East Anglia. The treasures are now in the British Museum, the burial helmet most familiar among them. It is easy to imagine Redwald's final journey across the heathland from Rendlesham, to this wild bluff overlooking the Deben. And it is possible to visit the Sutton Hoo site, where there is a fascinating museum and excavations are still in progress.
But All Saints is also worthy of investigation. So often, you see a fine medieval church, and go in to the crushing disappointment of a complete Victorianisation. All Saints at Sutton is quite the opposite. This mainly Victorian church conceals one of the finest and most interesting fonts in the county. There is nothing quite like it in all East Anglia. It has the eight orders of the pre-Reformation church around the base, figures representing deacons, priests, bishops and the like. The supporting angels corbelling the bowl have, between them, the instruments of the Mass; paten, chalice, missal, and so on.The figures on the bowl are the four evangelists, interspersed with Gabriel and Mary at the Annunciation, Mary Magdalene, and a very rare God the Father, the old man himself, seated on his throne.
The rest of the church is neat and pleasant enough, a typical work by Richard Phipson, one of his earliest in the county. And even if he hadn't refurbished it, there wouldn't be much that was medieval left here, because the whole thing burned down early in the 17th century. One survival of the fire is the brass inscription to William Burwell, who died in 1596 at the age of eighty. He would have been witness to the whole turbulent process of the Reformation, and the forging of early modern England. The brass is now mounted on the west wall, which makes it easy to view, but also means that it would not survive a fire today.
There is decent glass from the Clayton & Bell workshop in the nave and chancel, but the east window design by William Warrington is the star of the show. He signed it in strapwork along the bottom, telling us that he both designed and painted it. The rood loft stair opens quite high in the north wall, and must have been an impressive sight in this narrow, aisleless interior. The chancel roof beams are picked out nicely between white plaster, which becomes a ceilure in the nave with just the main beams showing, which is very effective. The difference creates the effect of a wide and spacious chancel.
The Millennium project here was a little wooden belfry that stands to the south of the chancel. It replaced a previous smaller turret, and is rather more ambitious than the one at nearby Alderton, but it seems a shame that you can't see the bell inside. But all in all, what a super little church this is. Today, it is little-known, I suppose, but any ghosts here might well have American accents: we are only a mile or so here from the northern edge of the former USAAF Woodbridge base, with Bentwaters beyond that, and during the Cold War these lonely lanes reverberated to the sounds of Air Force activity. It seems strange to think of it now.
48151+37669 passes the "Daniel Adamson" at Sutton Weaver with 1Z51 07.12 Preston - Blaenau Ffestiniog "The Welsh Mountaineer" Tuesday 24 July 2018.
Usually lying on a table tomb on the north wall of the chancel www.flickr.com/gp/52219527@N00/04YG8p is William Roberts 1554 - 1633 which he erected in his lifetime. It has been moved several times around the church and on my visit it was in pieces being restored. This enabled me to see the side normally against the wall. www.flickr.com/gp/52219527@N00/3w165B
William, Sheriff of Leicestershire in 1619, lies with his head on an embroidered tasseled cushion wearing armour.
Two inscriptions record:
"Here lyeth interred the body of Sir William Roberts knight. Who in his lifetime being devoted both to Hospitality and Charity, among other memoriable he left workes out of a pious mind an Hospitale for sixe poore men adjoyning this churchyard and endowed it with thirty pounds annually in land for their maintenance forever".
"This Sir William Roberts was sonne of Thomas Roberts gent and married to his first wife Katherine daughter of Richard Elkington gent, and to his second wife Elizabeth daughter of Valentine Hartopp, gent: but by neither had issue. Hee lived 79 years and died Anno Domini 1633 February 24".
He m1 Katherine 1541 - dsp 1622 daughter of Richard Elkington of Shawell Leic
He m2 Elizabeth 1642 daughter of Valentine Hartopp 1633 of Burton Lazars & Anne heiress of William Goodman of Goadby:
Elizabeth was the widow of George Bale 1616 flic.kr/p/bx2pJ1 of Carlton Curlieu Hall, Leic, eldest son of Sir John Bale 1622 and Frances flic.kr/p/bx2pHG daughter of Bernard Brocas of Beaurepaire, Sherborne St John. Hants
Elizabeth already had 3 children
(1) Frances Bale m William Roberts of Barwell
(2) Sir John Bale (1594-c.1660) m1 Emma 1630 heiress of William Halford of Welham m2 Elizabeth ? daughter of William / John ? Bainbrigge of Lockington
(3) Valentine Bale (c.1596-1644) m Elizabeth 1672 heiress daughter of Tobias Chippingdale of Humberstone by Isabella daughter of Thomas Cave
Elizabeth died at the Humberstone home of her son Valentine in 1642
Both wives originally knelt at the east end of the tomb, they are now above him on a wall monument www.flickr.com/gp/52219527@N00/2y5fxu
The south facing base is carved with a bunches of figs. www.flickr.com/gp/52219527@N00/14YiKX The other has a bell behind which are a crossed spade and pick, both being symbols of the resurrection.
The west end of the chest has the Roberts arms (Per pale argent and gules, a lion rampant sable) with mantling and a tiger's head crest, beneath which are double doors symbolising the entry from earth to heaven. www.flickr.com/gp/52219527@N00/GhhQ73
William rebuild the Manor House opposite the church. A great benefactor of the neighbourhood, he also built alms-houses for 6 poor aged men in 1612 , which is now a restaurant, He also gave £30 out of land at Barwell to be lent yearly to 6 tradesmen of Hinckley at tenpence in the pound interest.
In 1630 he was one of the freeholders alongside Richard May, William Drakeley and John Swinfen.
In the Civil War the Roberts family supported the Royalist cause and William described as "the younger" was fined 780 shillings in September 1646 by Parliament. for his "delinquency" of "leaving his own house and residing in the enemy's garrisons"
landedfamilies.blogspot.com/2018/08/343-bale-of-carlton-c...
- Church of St James, Sutton Cheney Leicestershire
c suttoncheneyvillagehall.yolasite.com/the-battlefield-chur...
Was late for college once because I'd missed my train but I took it as an opportunity to try out some long exposure shooting for a camera controls assignment. I didn't have a tripod, so just used my leg to reduce the camera shake :)
Some work done in photoshop
-cropped
-Shadows and Highlights
-Levels
Old cemetery in Sutton Forest.
Nikon F4. AF Nikkor 24mm F2.8D lens. AGFA Rollei Infrared 400S 35mm B&W film. Hoya IR R72 filter.
Fast forward from the two previous photographs and a RT type on Route 164A from Sutton(A)Garage navigates along the High Street. (CollectionFB)
From the notice in the church:
THE FREKE MEMORIAL
The inscription in Latin records the death and burial of Sir Thomas Langton Freke in November 1769. He died on November the 4th aged 44. His parents were Sir Thomas and Frances Freke from Bristol in the county of Somerset, Lady Freke being the daughter of Robert Langton of Bridlington, also in Somerset. Sir Thomas was related to the Willes family who lived in the Manor House and Astrop House, to the north-east of the village.
The sculpture, created from plaster on a metal armature, was probably made by John Bacon. It is need of restoration having become very dirty over the years and having lost some of the plaster especially from the rib-case of the corpse.
The figures are the Risen Christ, death and an angel. The background is rock-like perhaps representing the tomb of Christ. The corpse is reduced to skeletal form and the shroud is falling away. The head hangs down and has a crown, symbolising the loss of earthly honours in death. The angel kneels looking upward at Christ, one hand stretched out upwards against the background.
The risen Christ stands triumphant over the skeleton with one foot firmly placed on it. He holds a staff with a very long banner type cloth. This wraps around his left shoulder and loins. The left arm is raised with fingers pointing upwards. He has the classic Greek body. The face with long hair and a beard has a gentle, calm and rather solemn countenance.
As a memorial, it is a bold statement of the Christian belief that through the resurrection of Jesus Christ we may all hope for the fullness of eternal life.
"I am the Resurrection and the Life", says the Lord. "Those who believe in me, even though they die, will live." S John's Gospel 11.25 read at every Christian funeral.
Kings Sutton church, Northamptonshire
Glass manufacture in St Helens commenced around 1826 and, with the coming of the railway, the Pilkington Brothers Ltd works rapidly expanded until at its peak of manufacture in the 1950s Pilkingtons, with its dominant market share in glass manufacture, was handling in the region of 1,800 railway wagons per week at St Helens. The company also owned St Helens colliery until vesting day, providing cheap coal right on the doorstep for the manufacturing processes. Products handled at the Ravenhead, Gerard's Bridge and Crown Sheet Works were inbound coal and sand (and later oil replacing coal in the late-20th century) and outbound finished product in bespoke wagons for safely conveying large sheets of manufactured glass. Pilkingtons was a loyal user of the locally-built Edward Borrows ‘Cross’-design 0-4-0 well tanks from the local Providence Works and drew, at various times, from a fleet of 19 such locos built between 1875 and 1910, although locos from other manufacturers were also used. Similar Borrows locos also worked at the Brunner Mond Winnington and Lostock works at Northwich in Cheshire and at the United Alkali Burn Naze works at Fleetwood in Lancs. Borrows 0-4-0 well tank Sutton (W/No.49 built in 1905) photographed at St Helens Sheet Works (formerly Crown plate glass works) in the mid-1950s. It was withdrawn from service in April 1959 and scrapped during 1960.
© Gordon Edgar collection - All rights reserved. Please do not use my images without my explicit permission