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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.
East window in All Saints at Lullington, Derbyshire. A magnificent example of the work of the renowned Belgian Studio of J.B.Capronnier 1862.
This was a complete surprise to me, and the real treasure of this church. The medallions show various scenes from the Old & New Testaments and are superbly executed, much use being made of enamels to get the flesh tints for the beautifully detailed figures.
Sadly most of my pictures of individual scenes did not come out well, the light being poor; I could have done with a tripod and didn't want to delay the keyholder further by getting closer and more engrossed in the glass.
Finally got the update!
Even though, had to force it a little www.wpcentral.com/forcing-windows-phone-78-update-camera-...
Thursday, April 5 2012
+1 in comments.
This is one of many broken windows on this old barn, I absolutely love it.
Buying Warped Tour tickets today wooo
The window cleaner does not appear to have any sort of safety harness on and it does look extremely precarious. If you look at the next photo you can see exactly how high he was at the time.
Seen from the office window, Dix's Field, Exeter, UK.
East window at Exhall portraying the Annunciation, by Charles E.Steel (of Leeds) 1916.
Exhall is something of an oddity, since not only are there two villages called Exhall in Warwickshire both have medieval churches dedicated to St Giles (the other is just north of Coventry).
The church itself is very much a churchcrawler's 'quickie' as there's not much to it, somewhat restored with a simple chancel & nave with bellcote. There's a blocked and very plain Norman north door and an unusual display of ballflower above a south nave window but not much else. It is regardless kept open and welcoming and worth a quick look for the attractive glass, a pretty 1890s Annunciation in the east window and two contemporary lights from 1977 by the late Harry Harvey of York at the west end, recounting the legend of St Giles rescuing his emblematic deer from hunters.
Fourteenth century stained glass in one of the chancel windows at Kempsey.
St Mary's church at Kempsey sits close to the River Severn immediately south of Worcester. The church is an impressive structure dating mostly from the 13th-16th centuries, with a late medieval tower and transepts.
The most notable features inside are the imposing tomb in the chancel (which was once renowned for having a tree growing out of it!) and two windows filled with fine 14th century stained glass.
I believe the church is usually kept open, and I certainly found the parishoners very welcoming on my visit following a Sunday morning service.
For more see below:-
www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...
These windows seen in "Le Ballon Rouge" (1956) still exist. This photo was taken in July 2011. (The balloon comes from the 1956 book and was superimposed here.)
This is a page from FURORE magazine #21 detailing the many Paris locations of "The Red Balloon".
More details here.
Look! A window!
Old glass and trees and townhouses. And a cloudy London sky.
I didn't get that many pictures at the V & A, mostly because we looked at a lot of paintings and textiles, and we were specifically asked not to take pictures of the former, and I tended on the err on the side of caution and not take pictures of the latter. (It probably would have been okay without flash, but I really don't want the demise of centuries-old fabric on my conscience.) There also seemed to be a general correlation that although I enjoyed everywhere we went, the places I enjoyed the most I have the fewest pictures of. Perhaps because that was because I was busy looking and not playing with the camera.
We loved the V & A. We were a bit disappointed with our walking tour through it, as although our guide gave some really interesting background, especially in regards to Prince Albert's interest in design and the museum's history, she seemed to spend too much time on too few things. We would have liked to have had more objects pointed out in exchange for a little less background on each.
It was a fascinating place, and I feel we only barely scratched the surface. We saw Peter the Great's snuffboxes, and a huge collection of sketches by Turner. There was a colossal Persian rug that was lit for only ten minutes every half hour to prevent its colours from fading (of course, there were people taking flash pictures of it). There was a beautiful collection of Victorian gowns (yes, so we love old dresses, okay?). I took a wrong turn trying to find a certain gallery, and wandered into a room of magnificent cartoons by Raphael. (In a bit of synchronicity, those cartoons just came up in a book I was reading. And that's 'cartoon' as in a design for a picture, not the funny pages.) One of the things our guide told us was that every time an old building is demolished in the UK, the V & A sends someone out to assess whether it is worth preserving. If they decide it is, they actually take down the interior and transport it to the museum, to be displayed or put into storage until it can be displayed. We sat in the parlor of a 18th-century townhouse that had been destroyed fifty years ago. I turned a corner and found myself looking at a room that looked amazingly like a room I thought existed only in my head. It was the interior from a Tudor-era house.
Even the washrooms were amazing. Rachel and I went to the loo--and then stepped out to call Jen in to have a look at it. Yes, it was that lovely.
Looking out from Downhill Demesne and Hezlett House, Castlerock, County Londonderry, Northern Ireland.
East window of the south aisle by Ninian Comper, 1920.
St Mary's church in Clifton upon Dunsmore has a small, box-like late medieval west tower (an odd carving of a bear halfway up the west side is now worn beyond recognition) and largely 13th/14th century nave and aisles with evidence of Norman work in the earlier chancel. The church has been much restored and the interior now has a very Victorian feel to it (new chancel arch and the one Norman window virtually renewed).
There are some quaint corbel heads supporting the nave roof, but otherwise the only antique element is a not very elegant Baroque memorial in the chancel (Orlando Bridgeman 1721). There is a mixture of Victorian stained glass of decent quality, Hardmans in the chancel and north aisle, some Burlison & Grylls, a fine St Paul & Timothy by Kempe and one by Comper. The font is a curious block-shaped thing c1900.
The church is usually kept open for visitors 10am - 4pm most days.
For more detail on this church see it's entry on the Warwickshire Churches site below:-
warwickshirechurches.weebly.com/clifton-upon-dunsmore---s...