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Kempe's east window at Tong attempts to recreate the lost medieval glass, using as reference the surviving fragments of four of the main figures (now relocated in the west window) and incorporating a few medieval fragments in the tracery lights.
St Bartholomew's church at Tong is not just one of Shropshire's finest parish churches, it is one of the best in the country. So much antiquity in carved stone and woodwork is contained within it's walls it is a veritable treasure house of medieval art. The most outstanding features are the superb collection of tombs with effigies to members of the Vernon family.
The church building itself would normally be ample reward, and impressive 15th century edifice crowned by battlements, pinnacles and an unusual octagonal central tower with a short spire. It's grand appearance is explained by it's former collegiate status, and ruins of the former college buildings can still be seen in the field immediately to the west.
Within it is somewhat cluttered with history, with many of it's original furnishings surviving, from the nave pews to the superb chancel stalls with a set of misericords and various other interesting carvings. The aisle screens survive too, and are adorned with some particularly fine foliage carving and traces of their original colouring. The medieval glass has mostly disappeared except for some significant fragmentary figures reset in the west window, these were used as reference by Kempe's studio when they created a new stained glass for the east window in the 1880s, incorporating reconstructions of the damaged original figures.
The monuments are too numerous to list here, the main group is concentrated at the east end of the nave and crossing with six major tombs with effigies (except one with brasses instead) all crowded together with little space between, mostly of the 15th and early 16th centuries (only one of the major tombs is post Reformation).
The finest feature of all is the beautiful fan-vaulted Vernon chantry chapel, built in 1515 on the south side, situated behind it's builder, Harry Vernon's tomb, which like the chapel ceiling retains many traces if it's medieval paintwork. The most unusual of Tong's medieval monuments is found on the west wall of this intimate space, the upper half of a figure emerging from a canopied niche, believed to be the portrait of Arthur Vernon who died in 1517.
The church is justly celebrated and much visited, and happily is normally open for visitors.
Sunny window somewhat framed by shadows on a building at Ladew Topiary Gardens in Monkton, Maryland.
Detail of the west window by Thomas Denny, installed for the Millennium in 2000.
The church of St Peter at Martley is one of the most rewarding in Worcestershire. Dating back to Norman times, the aisleless building we see today was largely remodelled in the 14th century with the west tower added a century later.The stonework throughout is of an attractive rusty-red hue.
Inside the old timber ceiling draws the eye, creating a tunnel-like effect since there is little structural division between nave and chancel. The chancel contains substantial areas of 14th century red-line wall painting, giving an unusually complete impression of the original medieval decoration.
At the west end is the stunning Millennium windoy by Tom Denny, a rich display of subtle imagery in shades of gold.
My house had awesome windows with tons of natural light. A 1950's brick ranch with basement. Frog loved watching squirrels here.
Meriden has a claim to being the centre point of England, which is traditionally marked by the medieval cross shaft that stands at the heart of the modern village.
The ancient parish church of St Laurence stands outside the village on a hill top some distance to the east. Built of a warm red sandstone, it consists of a late 15th century west tower, a Norman chancel and an aisled nave, largely 13th century in date though the outer walls of the aisles betray a thorough remodelling in the early 19th century.
The interior retains a feel of antiquity despite various restorations (include much recent renovation) and contains several items of historic interest, including two 15th century knight's effigies placed at the ends of the side aisles (that on the south side is particularly fine).
There is some particularly fine stained glass in the south aisle, with two beautiful windows by Powell's in their later Pre-Raphaelite-influenced style, and a sumptuously detailed war-memorial window by Camm's of Smethwick. The glass at the west end can be studied from close quarters from the recently installed gallery.
The church is normally kept locked, but is open on Sunday afternoons from Easter to October and visitors are made very welcome.
There are also very occasional opportunities to climb the church tower for excellent views of the surrounding countryside, but alas I missed the latest opening by a week!
For more detail see this church's entry on the new Warwickshire Churches website:-
The Verney memorial window in the north aisle at Lighthorne is distinguished by a fine representation of St Elizabeth of Hungary in it's left hand light, shown holding flowers and surrounded by birds, beautifully detailed and a late work by Florence Camm, 1946.
The east window iin the church of St. Mary the Virgin, Therfield, Hertfordshire. The window is by John Lawson (see the signature) and dated 1961. The main image depicts Jesus' resurrection and the stunned soldiers who had been guarding the tomb.
I was playing with the light settings to try to get this effect of the shutters outlining the shot. View the FlickrSkin: Landscapes and Seasons: by Ace Starry
When this church suffered bomb damage in 1941, all but one of the stained glass windows were destroyed, this window survived.
Named the Nunc Dimittis window (one of the canticles said or sung at Evening Prayer according to the Book of Common Prayer),
it shows the story of Simeon holding Jesus in the temple after being told that he would not die until he had seen the Lord's messiah. On the right an elderly prophet, Anna who had also been waiting night and day in the temple to see Jesus. On the left are Mary and Joseph who had come to the temple with an offering of two doves to present the baby to God according to Jewish custom.
The window was installed in 1921 in memory of Mr and Mrs J Cross. There were originally two adjacent windows depicting the Magnificat and the Te Deum which did not survive the bomb blast.
East window of the chancel portraying Christ at Emmaus, the work of Christopher Charles Powell of Highgate, London 1938. In the process of looking for a signature from a stepladder I was able to see the architectural panels at the bottom, normally hidden from view by the reredos.
A grand 14th century building with proud west tower and aisled nave.The earliest part is the south door which is a good late Norman piece. It leads to a fairly dark interior, very much scraped. The chancel is more restored, having been largely rebuilt in 1858.
The best features here are the monuments, with good early effigies of Thomas & Alice de Wolvey c1300 at the west end of the north aisle (annoyingly a funeral bier has been stashed next to it which blocks closer inspection). At the opposite end of the north aisle is another tomb with effigies, but badly mutilated ones of early 17th century date (Thomas Ashley and wife, 1603), alas in a tight and heavily cluttered corner and very difficult to see. The damage to these figures occured when the north aisle roof fell in in the 17th century; it seems wood was an expensive commodity back then since the broken old beams were re-used, which necessitated moving the entire north wall inwards by about 2ft!
The church is generally kept locked and alarmed, and this being my third visit without access I tried a couple of numbers with limited success, then the vicar just happened to stroll into the churchyard and kindly agreed to let me inside. It was certainly worth persevering and I'm happy to have got in at last!
The east window of Comper's chapel of the All Saints' Convent, Oxford is full of detail. The theme of the window is the life of St John the Evangelist and there are images of secondary patrons of the institute.
I'll bet those windows let in a whole lot of light.
Pacemaker Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - New55 Atomic-X @ ASA-100
Kodak D-76 (Stock) 7:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC (2018)
Reims Cathedral, coronation church of the French kings and one of the finest gothic structures ever built. It's vast scale, masterful design and rich sculptural adornment are virtually without equal.
The west facade is one of the most celebrated achievements of medieval architecture. Beautiful sculptures from the 13th & 14th centuries adorn the three main portals and include such famous figures as the 'Smiling Angel of Reims' and the strikingly classical-inspired Visitation.
Sadly the cathedral was heavily mauled by German artillery in World War I, starting fires which destroyed the outer roof and tragically ignited wooden scaffolding around the northern half of the facade, damaging the priceless sculptures (which would have otherwise been safe from fire damage). Restoration took many years, some continues to this day.