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Papa Luna's window- when he moved to Peñiscola he wanted a window in his room that faced towards Rome. He was called the 'Anti'Pope'- although there is some controversy as to who the REAL anti pope was...
Sunny window somewhat framed by shadows on a building at Ladew Topiary Gardens in Monkton, Maryland.
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:-
Mason, our social butterfly. Although he was a male, Mason had one darker tan spot that hinted of being a calico, his two sisters were true calicos. 58mm, 1.4, Voigtlander Nokton.
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.
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
Window of the old Milford, NJ train station. [it is now a bakery and coffee shop]
“An ordinary mirror is silvered at the back but the window of the night train has darkness behind the glass. My face and the faces of other travellers were now mirrored on this darkness in a succession of stillnesses. Consider this, said the darkness: any motion at any speed is a succession of stillnesses; any section through an action will show just such a plane of stillness as this dark window in which your seeking face is mirrored. And in each plane of stillness is the moment of clarity that makes you responsible for what you do.”
― Russell Hoban, The Medusa Frequency
The communal sunroom at my AirBnB in Udaipur, India
Camera: Tachihara 4x5
Lens: Caltar-S 135mm f/5.6
Film: Kodak Ektar 100
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.
Love this dress so much - it's over at the Tower of Terror. I only saw it cause I waited for my hubby and friends while they rode that ride (I don't do ToT)
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)
Stained glass window by Kempe in memory of those from this parish who fell in the service of their Country in the Great War - Gwendoline Hanbury dedicates this window AD 1819
Remember ye Evan Robert Hanbury dearly loved only son of Evan and Gwendoline Hanbury www.flickr.com/gp/52219527@N00/ex070Z to whose memory his mother dedicates this window
Remember George Barrett who fell in the Great War,"reported missing" Gallipoli 6th August 1915 .- Church of All Saints, Braunston Rutland
Window by Morris & Co c1908 on the north side of the chancel. Dating from after the death of Burne Jones the overall design would have been produced by his successor John Henry Dearle but re-uses Burne Jones's designs for the main figures. Medieval glass remains in the traceries.
St Michael & All Angels at Ledbury is not only one of Herefordshire's grandest parish churches but also one of its most rewarding. There is much to enjoy in this ancient building from its unusual architectural features to its interesting monuments and top quality glass.
The church is set back from the town's main street and accessed via a narrow cobbled alleyway, the view of its soaring spire beckoning the visitor onward. Upon arriving at the churchyard gates this massive building reveals itself to be full of surprises, most noticeably the tower and spire being detached from the main building and standing a short distance to the north of a beautifully detailed chapel on the north side (formerly dedicated to St Katherine) whose large windows are enriched with ballflower ornament. To the right the mass of the three-gabled west front greets the visitor, centred around the original Norman west doorway with its carved capitals.
Much of the Norman building still remains but aside from the west door the building has been modified and extended in the following centuries to the point that most of the exterior now appears to be of 13th or 14th century date. The detached tower dates back to the 13th century in its lower stages, but the topmost belfry stage and the tapering spire above are an 18th century addition by architect Nathaniel Wilkinson of Worcester. The spire is nonetheless remarkable for its sheer height, and visitors can often ascend the tower to its base during the summer months.
Inside the church initially has a vast, almost barn-like feel owing to the great space and somewhat low level of light, particularly as the eye is drawn towards the chancel which almost disappears into the gloom at first sight. The church is lit by a series of tall windows but the light they admit is more limited by the extensive collection of stained glass (though fortunately most of this is exceptionally good). The chancel is the oldest part, retaining its Norman arcades with intriguing porthole-like oculi above that would have been originally glazed as a clerestorey before the aisles were enlarged. On the north side (almost acting as a transept) is the former chapel with its large Decorated windows that is now separated by a glazed screen and is referred to presently as the chapter house. It contains some old fragments of glass and a fine effigy of a 13th century priest.
Throughout the church there are tombs and monuments of interest (not all well lit so at times the eye needs to adjust to the darkness) from the medieval period to the 19th century. Most of the windows on the south side are filled with rich late Victorian glass by Kempe, whilst in the north side is a more varied display with good examples of Pre Raphaelite, Arts & Crafts and more modern work by Burne Jones, Christopher Whall and John K.Clark respectively, in my opinion the most outstanding windows in the church.
Ledbury church is normally kept open and welcoming for visitors to this popular, tourist-friendly market town. It is well worth a visit, a well above average church!