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East window in All Saints' church, Waldringfield, Suffolk. Attributed by Birkin Haward to Lavers & Barraud. c1864. This window, showing the Baptism of Christ, the Crucifixion and the Last Supper was installed in the church during the Victorian reconstruction of the 1860s.
It is sometimes referred to as the Coprolite window, as the restoration was financed from the profits of the local Coprolite trade, a thriving business at the time, in which nodules were dug out of the glebe lands, washed on the nearby beach, then transported by barge down the Deben to Ipswich, where it was mixed with sulphuric acid to make an early form of superphosphate fertiliser.
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
I have just come back from study abroad and I finally am having a chance to sort through my photos. Lisbon was my favorite city. I fell in love with the old tile houses. Here are a couple of my favorites.
Software:
- Windows 7 Start Button Changer
- Rainmeter 2.1 beta
- Omnimo UI
Resources:
- Windows modern Wallpaper by djeric from deviantART
- Rainmeter "Elegance 2" by lilshizzy from deviantART
- Eclipse 2 Icon Pack by chrfb from deviantART
- Trans Token Style Start Orb by my99 from deviantART
(Danish: Dannebrogsvindue) Windows with pulldown behind. Artwork by Hesselholdt & Mejlvang in 2011. Photo from an exhibition at the Museum of Modern Art Aalborg.
The broken windows theory is a criminological theory of the norm-setting and signaling effect of urban disorder and vandalism on additional crime and anti-social behavior. The theory states that maintaining and monitoring urban environments to prevent small crimes such as vandalism, public drinking, and toll-jumping helps to create an atmosphere of order and lawfulness, thereby preventing more serious crimes from happening.
[Wikipedia]
This window is at the east end of St Martins and
is an absolutley beautiful window, This window
alone is worth the visit to St Martins church, in Ongar, Essex, England.
An angel's wing beats at every window, but only the listening hear and rise. ~Muriel Strode (1875–1964), My Little Book of Life, 1912
One of my favourite things to do is head down town and hang out with my favourite, beautiful, photogenic people. We went shopping - couldn't find the right skirt, but found this cute white top - had ice cream, drinks, lots of laughs and she jumped into a shop window I've been wanting to photograph for years
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 bizarre assembly of a window is in the south aisle and seems to have been filled in three stages from left to right; the left hand figure appears to be c1880 by Lavers & Barraud, whilst the adjoining King David's canopy matches but the figure itself is executed differently, more in the manner of Ward & Hughes. The right hand lights with the Good Samaritan appear to be early 20th century, possibly by Percy Bacon.
A wonderful old church well worth exploring but little visited on the edge of suburban Rugby, but as it's normally kept locked I timed my visit close to a sunday evening service to get in. Very friendly people, but alas little time to get decent photos, though they seemed happy to open up for me if I wanted to return. I've known the church for years having grown up in the area but only been inside a few times years ago, when it used to be more accessible. It was one of the first ancient churches I ever experienced and left a lasting impression.
Despite serving what is now a large suburb of Rugby the church retains a country feel, being cut off from the town by the main line between Birmingham and London, meaning it is completely invsible from Hillmorton itself. Normal approach is thus bizarrely through a tunnel under the railway line that leads to the churchyard!
It's a mainly 13th/14th century building, the west tower is of a rich red sandstone whist the body of the building has been patched up at various dates giving it an attractive unrestored patina. Inside is equally unspoilt, retaining a late Georgian feel with it's furnishings, Royal Arms and whitewashed walls (though oddly just chancel and south aisle have been scraped). Victorian glass is confined to 2 south aisle windows (including one strange piecemeal affair) the main east window with it's intersecting tracery is left plain.
The main items of interest here are the monuments, three medieval tombs and an elegant brass of a lady. Of the effigies the best is the early 14th century lady in the south aisle with wimple and canopy over her head. The nearby knight is more damaged whilst the 13th century priest under an arch in the north aisle (almost hidden behind benches) is badly mutilated.
All in all well worth a look, but unless you're lucky with timing will probably require a phonecall to open up, unfortunately there are no keyholder details.
(there's an inscription in the middle of the frame of the upper windows - I only realized it when I looked at this photo, and I couldn't find out what it says or why it is there)
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Perhaps the most beautiful window at All Saints is the Angel window by Powells c1900 on the west side of the north transept. It lights a chamber used for storage and has to be glimpsed through a door, thus is sadly missed by most visitors to the church. (the lower left angel was damaged by a scaffolder in the mid 1990s and now has a replacement head).
All Saints is Leamington Spa's cathedral-like main church, begun in 1843 over the site of a much more modest building. The bulk of the church was completed in the following years by J.C.Jackson, though the west end of the nave and the soaring south west tower were added in 1898-1902 by Sir Arthur Blomfield. It seems a crossing tower was originally intended but only the stump was built, owing to insufficient foundations or funds. Nevertheless a small clock tower with a spire was added off the north transept giving the church a distinctive outline.
The apse and transepts are largely French gothic in style (an odd choice for a Regency town) with elaborately traceried rose windows based on authentic examples in Rouen (alas without stained glass). The apse windows are amongst the tallest of their kind in an English parish church.
The interior is impressivelty spacious despite being somewhat gloomy. The west end was partitioned off to form gallery and parish rooms in c1990, (utilising the rood screen from the demolished Holy Trinity, Rugby). The only vestige of the medieval church is a small worn effigy of an abbot in the north transept porch.
The church has much glass of the Victorian period, the rich apse windows of 1851 being the work of Chance Bros of Birmingham and in part shown at the great exhibition. They were much improved by restoration in the late 1990s.