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Open up the dirty window
Let the sun illuminate the words
That you could not find
Reaching for something in the distance
So close you can almost taste it
Release your innovation
Feel the rain on your skin
No one else can feel it for you
Only you can let it in
No one else, no one else
Can speak the words on your lips
Drench yourself in words unspoken
Live your life with arms wide open
Today is where your book begins
The rest is still unwritten, !!
A stained glass window in the Church of St Mary-the-Virgin, Addington, Buckinghamshire. 22nd May 2017.
West rose window at Charlecote by O'Connor of London c1860.
St Leonard's church stands close to the main entrance to Charlecote Park and contains 16th and 17th century monuments to it's builders and residents, the Lucy family in the north chapel.
The church itself is an entirely Victorian building dating from 1851-3 designed by John Gibson.
The interior is somewhat dark (with much Victorian glass) and unusually the entire length of nave and chancel is finished with a stone-vaulted ceiling.
The Window
Y Ffenestr
Through tangled coverts I crept,
Crooning songs while others slept.
Among ivy clumps I clambered
Outside my lover’s chamber,
Pressing on through stem and leaf,
Ardent, stealthy as a thief,
Pulled apart the thick green cloak
To find a window wrought in oak:
There I sought, pursuing bliss,
At the casement, but one kiss
Cajoling my jewel-like girl,
But she refused, little churl.
Designed for a chink of light,
Tiny window – lover’s blight!
No magician ever wrought
Such a window, built to thwart
A suitor – unless you count
The one, up on Caerllion mount,
Through which Melwas climbed, afire
With precipitate desire,
Blithely convinced he ought to
Have Giant Gogfran’s daughter!
Though I tarry in the snow
The wrong side of her window,
Unlike Melwas, I’d wait weeks
Earning ague and cold cheeks.
If the seamstress of my pain
Were face-to-face with me again
For nine nights, no kind star
Would see the window left ajar:
Despair descends like a pall
Wedged within the whitewashed wall,
Blasted by winds, north and south,
Wishing we were mouth-to-mouth.
I’ll catch my death in the sleet
Long before our lips can meet:
Conspiracy of window-panes
Leaving lovers sore constrained!
Where the fennel grows, I lie;
A row of roses, black sky
My companions for my sin:
My pious girl stays within.
Window, lair of prudery,
May a devil pound away
At your casement and your shutter
With his torrid tool, and shatter
Laths, keyhole, and the joiner
Who made you like a gaoler:
May he blind you, eye of light,
And the hand that made you, blight!
Slay the wicked one, whose will
Impeded us, and hinders still!
Source material: Poem by Dafydd ap Gwilym, paraphrased by Giles Watson. A humorous narrative of amorous misadventure having affinities with ‘Under the Eaves’ and ‘The Ice’, this poem also concludes with a conventionally exaggerated curse, typical of Dafydd’s “obstruction” poems. Like ‘Under the Eaves’, the poem lightly mocks the serenade tradition by making the speaker (or singer) seem pathetic rather than heroic. The Giant Gogfran was the father of Arthur’s queen Gwenhwyfar (Guinevere). Caradoc of Llancarfan tells of the abduction of Gwenhwyfar by Melwas, a legendary king of Somerset, in his Vita Gildae, and the story is echoed, with Lancelot as the queen’s rescuer, in Chrétien le Troyes’s Le Chevalier de la Charette. We know from other poems that Dafydd was familiar with Ovid, and the subject matter here is reminiscent of the story of Pyramus and Thisbe, who try to kiss through a hole in the wall in the Metamorphoses. The poem contains large amounts of parenthesis, which I have ironed out for the sake of clarity in English. I was also unable to resist borrowing the Welsh “torrid” from line 41, and using it as an English adjective in line 44. In line 42, Dafydd describes the girl as “pious” (“llwyd”). It is intriguing to think that this may be a play on the name Morfudd Llwyd, especially given that other poems mention her piety and chaste behaviour.
Veinte ventanas - bn
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St. Rumbold's Cathedral (Dutch: Sint-Romboutskathedraal) is the Belgian metropolitan archiepiscopal cathedral in Mechelen, dedicated to Saint Rumbold, Christian missionary and martyr who had founded an abbey nearby.
His remains are rumoured to be buried inside the cathedral. State-of-the-art examination of the relics honoured as Saint Rumbold's and kept in a shrine in the retro-choir, showed a life span of about 40 years and a death date between 580 and 655, while tradition had claimed 775 AD.
Construction of the church itself started shortly after 1200, and it was consecrated in 1312, when part had become usable. From 1324 onwards the flying buttresses and revised choir structure acquired characteristics that would distinguish Brabantine Gothic from French Gothic.
After the city fire of 1342, the Master Mason Jean d'Oisy managed repairs and continued this second phase, which by the time of his death in 1375 formed the prototype for that High Gothic style. His successors finished the vaults of the nave by 1437, and those of the choir by 1451.
During the final phase of 1452-1520, the tower was erected, financed by pilgrims and later by its proprietor, the City. Designed to reach 600 Mechlinian feet or about 167 metres, higher than any church tower would ever attain (Ulm Minster has measured 161 metres since the 19th century).
The very heavy St. Rumbold's tower was built on what had once been wetlands, though with foundations only three metres deep its site appears to have been well-chosen. After a few years, in 1454, its chief architect Andries I Keldermans constructed the Saint Livinus' Monster Tower (or St.-Lievensmonstertoren as it is called in Dutch) in Zierikzee (in the present-day Netherlands), where leaning or sagging of the tower (now 62 metres but designed for ca. 130) could wreck the church.
This concern led to fully separate edifices, a solution also applied in Mechelen. At both places, in the early 16th century the upper part of the tower was abandoned, not for technical but for financial reasons.
St Rumbold's should have been topped by a 77-metre spire but only seven metres of this were built, hence the unusual shape. A deliberately weak connection closed the gap between tower and church upon finishing the construction.
The church has functioned as a cathedral since 1559. In the 18th century, each capitals' surrounding ornament of sculpted cabbage leaves that had been an inspiration for numerous Brabantine Gothic churches, was replaced with a double ring of crops.
Detail of upper storey windows at Harvington Hall, a moated manor hall near Kidderminster. Pity about the shadow to the right from a (doubtless-of-architectural-interest) drainpipe.
Looking in through the window I could see some old furniture. No one lives here any more, the house has been abandoned for many years. From Gamla Nynäsvägen between Stav and Berga in Haninge.
Assignment: Like Night & Day (Diptych)
WIT: A tripod standing in the middle of the floor for five hours. I took the day picture around four and the night time photo at nine. I put the day and night picture together in photoshop. I also did a little cropping.
Exercise in window light portraiture. Taken yesterday, very spur of the moment when the low sun just managed to shine for about 15 min. It was still very soft.
Read all about it here:
blog.c-duncans-photography.com/2011/02/something-new-expl...
Essa foto foi tirada por mim em um quarto do Museu de Witmarsum.
Da esquerda para direita: Jeni e Gui
South aisle window depicting the Baptism of Christ by Heaton, Butler & Bayne, 1910.
The impressive parish church at Knowle is dedicated to Saints John the Baptist, Laurence and Anne; it is a good example of a Perpendicular Midland church, and is profusely adorned on the south side with battlements, pinnacles and gargoyles.
It is also built using two different coloured local sandstones, red and white, a feature of several Warwickshire churches that adds greatly to their appeal.
Inside the church is spacious with then nave flanked by aisles and the chancel disappearing beyond the late medieval wooden screen. The chancel contains ancient stalls with ten misericords (mostly fairly plain designs) and a sedilia too high up to be used (owing to the lowering of the floor following the removal of a passageway that once ran beneath the altar).
There is an interesting mixture of stained glass from several studios of the Victorian and Arts & Crafts period, an extensive and varied collection with some particularly notable pieces that reward study.
The church is happily normally open and welcoming to visitors.
This photo was taken during sunset over the Algerian-Libyan border when I was on the way to home last field break 19th Oct 2010.
If you would like to see more ice crystals, check my winter set out. All were shot, in the last few years, on one of the 7 windows of my house that frost up in the subfreezing weather... www.flickr.com/photos/lenbo/sets/72157603898446867/