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I love how these random patterns of ice between the two panes of window form cool shapes like trees.
Victorian window in the south aisle at Measham.
St Laurence's at Measham sits tucked back from the town's main street with an open space in front, allowing a good view of the western side (the rest is harder to appreciate being somewhat hemmed in). The most noticeable feature is the tower dating from sometime after 1733 (according to Pevsner). The rest of the building is of 14th century date and unusually appears as simple a spacious nave and aisles, since there is no structural distinction of the chancel, the east window being where one would normally expect to see a chancel arch.
There is some interesting glass, a collection of medieval fragments are arranged into a collage at the west end of the south aisle, whilst many other windows have a patchwork of brightly coloured late Georgian glass in their traceries. Some of these were casting attractive colours across the interior when we called.
I believe this church is usually open to visitors within reasonable hours. We called rather late in the day (after 6pm) but luckily encountered the vicar who was about to lock up and kindly left the church open a little longer for us.
This is another detail of the Officine Grandi Riparazioni building in Turin.
I've got this one from the inside of the construction.
You can check the before and after on my photoBlog
I hope you'll like it ;)
~ Andrea ~
on Black (Or press L)
A window design should be durable and safe, and therefore can be equipped with a safety lock at various points. The window design, specifically arched windows needs little extra attention to make it.
The St. Michael and St. Gudula Cathedral is a Roman Catholic church at the Treurenberg hill in Brussels, Belgium. In French, it is called Cathédrale Saints-Michel-et-Gudule and in Dutch Sint-Michiels- en Sint-Goedelekathedraal, usually shortened to "Sint-Goedele".
In 1047, Lambert II, Count of Leuven founded a chapter in this church and organized the transportation of the relics of Saint Gudula, housed before then in Saint Gaugericus Church on Saint-Géry Island. The patron saints of the church, archangel St. Michael and the martyr St. Gudula, are also the patron saints of the city of Brussels.
In the thirteenth century, the cathedral was renovated in the Gothic style. The choir was constructed between 1226 and 1276. The façade was completed in the mid-fifteenth century.
It is an archiepiscopal cathedral of the Archbishop of Mechlin-Brussels, the Primate of Belgium, currently Archbishop André-Mutien Léonard. It is located in the national capital and therefore often used for Catholic ceremonies of national interest, such as royal marriages and state funerals.
The south tower contains a 49-bell carillon by the Royal Eijsbouts bell foundry on which Sunday concerts are often given.
Source: wikipedia
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(Danish: Dannebrogsvindue) Windows with pulldown behind. Artwork by Hesselholdt & Mejlvang in 2011. Photo from an exhibition at the Museum of Modern Art Aalborg.
One of three windows in the north aisle by Powells, 1917 (these fine windows are particularly badly afflicted by the darkening wash applied to them yeasrs later and would be hugely enhanced if it could be removed).
St Mary's is the parish church of the town of Kidderminster and a grand affair it is too, still mostly an early 16th century building of impressive proportions, its extraordinary length in particular. The tower is a major landmark on the northern edge of the town centre, though sadly the construction of the modern ring-road effectively cuts the church off completely from the rest of the town and it can only be reached via a rather uninviting subway beneath the dual-carriageway, thus it doesn't get the footfall it deserves.
The church is usually approached from the south and it is this aspect that makes the biggest impression, most noticeably for its handsome south-west tower and the richly glazed clerestories of the nave (which appears to be composed more of glass than wall), all fine examples of the late medieval Perpendicular style. The length of the building is remarkable as beyond the nave is not only a decent sized chancel but a further chapel to the east as well (an early 16th century chantry chapel, formerly detached but now more integrated and in use as a parish room). There has however been much restoration owing to the fragility of the grey and red sandstones used in the construction, and thus much of the external stonework was renewed in the Victorian period (when the south chapel and vestries connecting to the chantry chapel were added). On the north side of the chancel is a handsome memorial chapel added in the early decades of the 20th century.
Entry is via the porch in the base of the tower at the south-west corner, where the visitor is greeted by a vast interior space whose lighting is somewhat subdued (especially the chancel). the nave is a classic example of the Perpendicular style and of considerable width, culminating above in the bright clerestories and a flat wooden ceiling. There is much of interest to discover here, particularly the monuments which date from the 15th-17th centuries and include several fine tombs, the earliest being a graceful canopied tomb to a noblewoman in the south aisle and a large brass on the north side. The chancel has three more large tombs with recumbent effiges to members of the Cokesey and Blount families, the latter being of post-Reformation date.
Every window of the church is filled with stained glass, mostly of the Victorian period but much of it rather good. The most handsome window is the early 20th century window by Powell's over the main entrance and there is more glass by the same studio in the nave aisles whilst the nave clerestorey has an attractive sequence of angels holding symbols of the Benedicite by Hardmans' installed at the very end of the 19th century. My first encounter with this church was in the late 1990s when working as part of the team that releaded the entire scheme of windows in the nave clerestorey, thus I got to know these angels very well. Sadly however the glass throughout this church suffers from a disfiguring layer of varnish or shellac (applied as 'blackout' at the beginning of World War II and a substance known as 'speltek' according to someone I spoke to at the church). This was smeared over most windows with a rag (the impressions of which were apparent when we worked on the clerestorey windows) and is not easily removed, but small areas where it has detached show how much brightness has been lost while the windows suffocate under this darkening layer. I hope some day the right solvent can be found to remove this stuff with minimal risk to the glass.
Kidderminster's grand parish church rewards a visit and deserves more visitors than it currently receives. It isn't always open but in recent years prior to the pandemic was generally open for a few hours on most days during the summer months (though best to check times before planning a trip). Don't be put off by the seemingly impenetrable barrier of the ringroad, St Mary's is worth seeking out and the nice people who steward their church would I'm sure like to be able to welcome more people to this fine building.
www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...
Water Tower, Bundaberg, ca. 1905 DescriptionPhotographs selected from an album presented to the Hon. J. G. Appel, MLA, Home Secretary, by the North Bundaberg Progress association as a mark of their appreciation of his efforts in connection with the abolition of the toll on the Burnett Traffic Bridge, 1st January 1913. (Description supplied with album)DescriptionEast Water Tower was built in 1902 as the first above-ground storage for Bundaberg's reticulated domestic water supply. Height 120 ft (36.6m); storage capacity 40,000 gals (180 kl); inside diameter 30 ft (9.2m); wall thickness varying from 4 ft 6 ins (112 cm) to 1 ft (25 cm). It stands on the corner of Sussex and Princess Sts, East Bundaberg and is a heritage listed building. (Information taken from: Bundaberg Tourism website, 2006, retrieved 18 April 2006, from: )
St Peter and St Paul, Felixstowe, Suffolk
This is the church of Old Felixstowe. Until a couple of hundred years ago, this was a small church in the middle of a tiny, straggling fishing hamlet. It was an outpost of the much larger village of Walton, a couple of miles to the south. In the 1830s, Felixstowe was discovered by Ipswich's middle classes as a south-facing bathing resort. By the end of the century a massive building programme had been undertaken. Now, Felixstowe has reached out and engulfed Walton, becoming Suffolk's fourth largest town, home to not far short of 40,000 people. Walton parish church sits on the edge of Felixstowe's modern town centre, but the church that is Felixstowe's in name sits far out in the north-eastern suburbs, so that you would be most surprised to see its modern setting if you had travelled in time from then to now. Not far from here, and just across the parish boundary in Walton, stood the now submerged Roman fortification of Walton Castle. It was here in 631 that St Felix came ashore after travelling from Burgundy at the invitation of the King Sigebert and the East Anglian royal family, and established his see of Dumnoc. You can still see remains of the castle off of Old Felixstowe at very low tides - or, at least, it is easy to imagine that you can.
A medieval time traveller would be even more surprised to see that this church has been almost completely rebuilt since its Catholic days, in a grand and fascinating manner. The transformation was carried out by Edwards and Roberts of Dundee in 1872. The lower part of the tower survives, the oldest structure in the parish by hundreds of years. The upper part, in common with many in this part of Suffolk, succumbed to the coastal weather in the late 18th century, and is a capped twin to that at Bawdsey, two miles or so across the Deben estuary. The ruinous building was patched up in an economical fashion, including the construction of the rather curious red brick chancel shown in mid-19th Century photographs. It is an odd date to Build a chancel. Perhaps it was used as a school room.
So it was then, in the 1870s, that a substantial rebuilding took place. The chancel was taken down, and transepts and a new chancel added, more than doubling the length of the church. Much was retained in the superstructure of the nave, but the roof was renewed, as were all the windows. The crossing is very high, much higher than the nave, and outside on its gable sits a fine sanctus bell turret. I found this intriguing, since it appears to be medieval at heart (despite now incorporating a chimney) but as you can see the photograph of the church before its restoration does not show it. I wonder where it came from.
The parish war memorial is one of those grand ones designed by Henry Munro Cautley for about half a dozen churches in the Ipswich area. Even so, it doesn't feature as many names as you might expect for a port of this size. This is because by the end of the 19th Century most Felixstowe people were living in the new parish of St John the Baptist, carved out of this parish in the 1890s and served by Arthur Blomfield's magnificent red brick twilight of St John's. By the time of the Second World War, St Peter and St Paul parish was even smaller, the town centre end of the parish forming the new parish of St Andrew, served by Mason and Erith's remarkable concrete church of St Andrew.
There is a George V Royal arms in glass by FC Eden in the north transept. The windows up in the apse-like sanctuary are jewel-like in this setting, but unfortunately no record survives of which workshop made them. They have something of Powell & Son about them. They show a combination of the East Anglian Saints Felix and Edmund, as well as that Saint associated with the sea that are so familiar in this part of Suffolk, St Nicholas. Anna stands beside St Luke with his story about her at the presentation in the temple. The church patrons St Peter and St Paul and King Sigebert of East Anglia complete the set. Below Felix is Norwich Cathedral, and under Edmund is Bury Abbey, neither place ever visited by them - or, at least, not while alive. More surreally, St Luke is paired with Kings College, Cambridge, and Anna with Hadleigh Deanery and church. Presumably these are places of significance to the Cobbold family who gave the glass.
Either side of the chancel arch are two high quality memorials in shimmering alabaster to two brothers, Henry Arthur and John Hudspith Turner. In the early years of the 20th Century they were canons of Aklavik Cathedral, which sounds terribly grand. In fact, this was a tiny mission church beside Hudson Bay, 150 miles within the arctic circle, in Canada's North Western Territories. The little town is accessible by boat only in the summer months and across the ice at other times. Even today, Aklavik has only 600 people living in it. The mission was founded in 1916, and the church was built out of log panels in 1919. The Turners arrived soon after. Henry's memorial records that facing difficulties with cheerful courage he laboured with the Bible Churchmen's Missionary Society among the Eskimo of Baffin Island for 25 years where he was also Engineer, Builder, Schoolmaster and Translator of the Scriptures. On John's memorial it notes that he worked in the service of his Master for 18 years in Baffin Island, making long journeys from thence over frozen seas to Eskimo camps and translating the Scriptures into the native tongue. The church they knew burned down in 1972, and its replacement, also of log panels, remains the most northerly cathedral in the world.
St Editha, Tamworth, Staffordshire.
Dean Memorial Window, 1940 - detail.
By Florence Camm (1874-1960).
To the Glory of Almighty God and in loving memory of Esther Dean who died the 11th day of October 1939. This memorial was placed here by her husband Herbert Dean.
Florence Camm spent all her life in Smethwick, running the successful Camm stained glass company with her two brothers at a time when women artists and designers were struggling to be taken seriously. Florence was a stained glass designer, painter and decorative metalworker. She exhibited 43 times at the Royal Academy in London and also showed at the Royal Birmingham Society of Artists, the Walker Art Gallery in Liverpool and the Royal Scottish Academy.
Florence was the daughter of Thomas William Camm who was born in 1839 in Spon Lane, West Bromwich. He set up the TW Camm stained glass business in Smethwick and Florence and her two brothers, Walter and Robert, continued after he died in 1912. Florence was taught stained glass design by the arts and crafts designer Henry Payne (1868-1940).
Robert died in 1954, Florence in 1960 and Walter in 1967. The firm closed at about the same time. The studio in the High Street in Smethwick was demolished in the 1980s and a shop now stands on the site.