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These plywood-covered windows are part of a fire condemned building ready for destruction. Holga lens on a Canon 6D.
Another window in memory of a member of the Hales family ; this time it is to Robert Turner Hales ( 1853 - 1931), a local doctor and also a benefactor of the church. The window illustrates the procession of pilgrims from Chaucer's "Canterbury Tales". It was designed by Francis Spear in 1933.
St Botolph-without-Bishopsgate is a Church of England church on the west side of Bishopsgate in the City of London, first mentioned in 1212.[1] It survived the Great Fire of London in 1666, and was rebuilt in 1724–29.
The church is on the west side of Bishopsgate near Liverpool Street station. In the Middle Ages the site was just outside the city walls near the "Bishop's Gate" after which the street is named.[2] St Botolph was a patron saint of travellers, so it was an appropriate dedication for a church near a city gate. There were three other churches of St Botolph in medieval London, at Billingsgate, Aldgate and Aldersgate.[3]
Adjoining the buildings is a substantial churchyard – running along the back of Wormwood Street, the former course of London Wall – and a former school.[4] The church is linked with the Worshipful Company of Bowyers.
Christian worship on this site may have Roman origins, though this is not fully proven. Stow, writing in 1598 only describes the church of his time as standing "in a fair churchyard, adjoining to the town ditch, upon the very bank thereof".[3] It narrowly escaped the Great Fire, the sexton's house having been partly demolished to stop the spread of the flames.[5] Writing in 1708, Hatton described it as "an old church built of brick and stone, and rendered over". By this time the Gothic church had been altered with the addition of Tuscan columns supporting the roof, and Ionic ones the galleries.
n 1710, the parishioners petitioned parliament for permission to rebuild the church on another site, but nothing was done. In 1723 the church was found to be irreparable [5] and the parishioners petitioned again.Having obtained an act of Parliament, they set up a temporary building in the churchyard, and began to rebuild the church. The first stone was laid in 1725, and the new building was consecrated in 1728, though not completed until the next year. The designer was James Gold.[2] or Gould.[6] During construction, the foundations of the original Anglo-Saxon church were discovered.
To provide a striking frontage towards Bishopsgate, the architect placed the tower at the east end, its ground floor, with a pediment on the exterior, forming the chancel. The east end and tower are faced with stone, while the rest of the church is brick, with stone dressings.[2]
The interior is divided into nave and aisles by Composite columns, the nave being barrel vaulted. The church was soon found to be too dark, so a large west window was created, but this was largely obscured by the organ[2] installed in front of it in 1764.[5] In 1820 a lantern was added to the centre of the roof.[2]
The church was designated a Grade II* listed building on 4 January 1950.[7]
By permission of the Rector, the Antiochian Orthodox Church worships there.
Window Shades. Getty Center, Los Angeles, California. March 28, 2015. © Copyright 2015 G Dan Mitchell - all rights reserved.
A walkway with window shades, Getty Center
I visit the Getty Center (perhaps once or so each year) as much to photograph the architecture as to see the art. The overall effect of the space, on the large and small levels, is stunning. It sits on top of a ridge with long views over the Los Angeles basin and out to see near Santa Monica. The Center sprawls along the top of the ridge, with many levels to the buildings and with an unusual garden below. The details are also fascinating — among other things, rectangular forms are reflected in almost all aspects of the design, yet there are things that are set off at odd angles from this regularity.
I made this photograph in a small interior area, more or less a sort of hallway and stairway with a walkway crossing in front of a wall of windows that are covered by translucent shades. As I looked at it I thought of it as a sort of cubist subject, and I found the colors (the various tans and the strips of muted blue sky beyond) and varying decrees of opacity/transparency very interesting.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more.
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Text, photographs, and other media are © Copyright G Dan Mitchell (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.
St Giles, Risby, Suffolk
Risby is a pretty village not far from the A14 and the sprawl of Bury St Edmunds, but to stand on the village green you would not know that either were there. The church is set along the road to Bury in a tight sleeve of a churchyard. It is a long church, the nave and chancel mostly of the late 13th and early 14th Century, so at the very height of the English Decorated period. By way of contrast, the tower is a rugged Norman affair, the solid arcading at the top quite different from that of elegant Little Saxham a couple of miles across the A14.
Back at the start of the 21st Century, St Giles was one of the very last Suffolk churches I ticked off on my first journey around the county, and I had not been back since. Since I have revisited just about every Suffolk church in that time, it means that I have been away from Risby church for longer than just about any other in the county. Back in 2003 it had been the very first church I ever photographed with a digital camera, a strange thought now.
You step into a church which is full of interest, although it seems to be little-known. Risby church has a little of everything. Fortunately, this does not seem to have been a wealthy or populous place in the 19th Century, so the Victorians saw no need to add aisles. Because of their restraint, Risby church has a surviving expanse of wall paintings along the north side of the narrow nave. A couple of features stand out, including Mary Magdalene kneeling to anoint the feet of Christ, and a sombre cleric who is probably St Thomas of Canterbury. An axe head pokes from what might have been a martyrdom scene. A sequence of the life of Christ has faded within living memory.
On the south side of the nave, one window contains four panels of continental glass. The two lower pieces depict Christ healing a lame man and a blind man. The roundels above, although faded, are more interesting. One shows St Hubert's vision of the crucifixion between the antlers of the stag he is hunting, and the other appears to show St Paul debating with Festus before Herod Agrippa.
The medieval glass at Risby survived into the 17th Century, because we have the fascinating detail of a receipt given in May 1644 by the iconoclast John Crow to the Risby churchwardens for the forty shillings fine they had paid for not destroying it as required by the parliamentary ordinance. It seems to have been smashed soon after, but in the 19th Century the wife of the rector, Samuel Alderson, recovered fragments from the churchyard, and these were used in 1850 to create composite figures in the east and south chancel windows. The plaque beside them refers to their restoration in the 1920s. It's not the kind of thing we would do nowadays, but it is very effective. The male figure in the south window has an arrow, so was probably intended as St Edmund, although he is flanked by two As and has part of a banner of St Andrew. The female figure is flanked by two Ms, typical of a Blessed Virgin scene, but she has part of a wheel and was probably intended to look like St Catherine. Both figures have 20th Century heads. In the east window, one figure is made to look like a king and the other a bishop with a 14th Century head. The figure of St John is almost wholly 19th Century apart from the hands, but the angels either side are made up of 15th Century fragments. Perhaps best of all is the Pelican in her Piety towards the bottom, reflecting back the one on the font. She is flanked by a censing angel and an agnus dei.
As with many fonts in the middle of the 16th Century, Risby's was plastered over to hide idolatrous imagery. When the plaster was removed in the 1890s, a beautiful Annunciation scene was revealed, as well as a striking Pelican in her Piety. East of the font is an exquisitely lovely rood screen, tall and narrow, with just three lights each side of the entrance. It is flanked by image niches backed with gold gessowork.
The tower arch is lower than Little Saxham's, but as there another opening sits above it, and was probably the original entrance to the tower, with a ladder which could be drawn up. The view westwards is memorable, the creamy light from the mostly clear windows falling softly over fifteenth century benches, one with a fragment of a 15th Century lady kneeling on its bench end, perhaps a survival of another annunciation scene.
The Victorian bench ends further east are tall and proud, carved in rich profusions of fruit, flowers and foliage, each one different. Mortlock tells us that they were the work of the rector, Samuel Alderson, and it was his successor, Thomas Abraham who oversaw the thankfully restrained restoration in the 1880s. Having paid for this, Abraham not unreasonably had the chancel glass dedicated to earlier members of his family. The best is probably by Clayton & Bell, depicting Miriam and St Cecilia and dedicated to Ellen Abraham who died at Florence in 1880. The Baptism of Christ is a typical work of Kempe & Co. The third, a curious and interesting little panel set in the low side window and depicting the agony in the Garden of Gethsemane, seems older, but is possibly by Kempe & Co as well. The firm came back in the 1890s to produce another typical piece depicting St Peter and St Paul for the Wastell family in the nave.
East window of the south aisle at Ibstock c1970s.
The church of St Denis stands in semi isolation on the fringe of the large village of Ibstock. It is an impressive building dating mainly from the 14th century, dominated by a sturdy steeple at the west end. Inside there is a good mixture of glass from late 19th to mid 20th century dates and the building is clearly well used and cared for.
The church is normally locked outside of services, but we were given an especially warm welcome here by the ladies on stewarding duty whilst the church was open for the day.
The millennium window, St Mary's parish church, Carlton, Beds. It is the work of John Lawson of Goddard & Gibbs Studio. Giant tongue of flame, representing the Holy Spirit, come down on the community, past and present. In each light is a symbol - the cross for faith, the anchor for hope and the heart for charity.
Found this old building in Elkhorn, Nebraska. The setting sun was brining out the window graffiti that was written in the dust.
After this shot, I walked across the street to shoot something else and a portrait photographer took my place and appeared to be shooting a young couple's engagement photos. The couple was wearing white t-shirts and blue jeans, which I thought would be odd for an engagement shot. Maybe I was mistaken though and could have been for something else. During their shoot a guy drove by in a pickup and announced over his PA system that everyone looked good and to smile.
That's life in a small town. . .