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Detail of the Congress window by Margaret Agnes Rope on the north side of the sanctuary. The scenes represent episodes of English Catholic history from the persecutions of Elizabeth's reign to the Eucharistic Congress of 1921.
It's easy for visitors to forget that the fine old town of Shrewsbury has a cathedral, it has large and impressive medieval churches that are a prominent feature of the townscape, but the cathedral fits none of these criteria, it is tucked away in a quiet side street, has no lofty spire or even tower and appears to be no larger than an ordinary church. Dating back only to the 1850s, it is small wonder that this apparently low-budget cathedral gets overlooked, but this is nevertheless undeserved, for it is a little known gem.
The Roman Catholic Diocese of Shrewsbury was founded in 1851 and with the generosity ofJohn Talbot, 16th Earl of Shrewsbury, plans for a new cathedral were made. The great A.W.N.Pugin himself was initially commissioned, but he died in 1852 having made only a few preliminary drawings, so his son Edward Pugin took over the project, and the church we see today is mostly his vision. The site was a challenging one, there was never room to be too ambitious, and to make matters worse the ground on this cramped hillside site was found to be too insecure to allow the building of the lofty steeple that was originally planned at the south west corner, thus the building fails to register it's presence on the skyline.
The church consists of a five-bay aisled nave culminating in a lofty chancel flanked by chapels, largely unaltered since it opened in 1856, except the chapel on the south side with it's vaulted apse being an exuberant creation of a later architect, Edmund Kirby, in 1901. The original decoration has been reduced over the years but many of Pugin's furnishings remain, along with the inevitable sequence of Hardman windows in the aisles.
However the most notable artworks here are of a later period, being the superb collection of Arts & Crafts stained glass windows by Margaret Rope (1882-1953), amongst her first commissions and of superb quality, filled with wonderful detail and richly rewarding of study. There are seven in the cathedral altogether (one is hidden away in a sacristy), the largest being the six light west window portraying the English Martyrs.
The cathedral isn't open as regularly as some, but is normally accessible and visitors are warmly welcomed.
This is the side of the new prison. Little windows, but with a pretty nice view. Not that I've seen for myself.
South nave window by the studio of Joseph Bell of Bristol, depicting Mary flanked by angels and commemorating the Queen's Silver Jubilee of 1977.
St Mary's church at Childswickham is dominated by its majestic steeple at the west end of the building, a fine piece of 15th century date. The rest of the building has been restored somewhat in Victorian times, but retains old features such as a Norman west doorway, some fine late 14th century niches in the nave and fragments of medieval glass in the chancel.
The church is normally kept open and welcoming for visitors; for more see below:-
www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...
East window of the south aisle/chapel at Barcheston by Hardman's of Birmingham, c1900.
Barcheston church is a delightful largely fifteenth century building in a secluded spot close to Shipston on Stour. It's most distinguishing feature externally is the leaning north west tower, which inclines dramatically to the west ('Warwickshire's Pisa'!).
The layout is quite irregular, the chancel is off centre and the south aisle more of a chapel only half the length of the nave. North aisle has very domestic looking windows and an arcade that almost leans as much as the tower (where arcade meets tower wall is a bracket propped up by a carved helping hand!).
The main items of interest are the south chapel monuments, foremost being the 1550s Willington tomb with effigies, still very medieval in concept despite the date (and ruffs). Nearby is a small brass and a large incised slab to a layman, very worn and partially re-cut with a lozenge of late 17th century date superimposed over the figure's legs, a new one on me! Two windows have stained glass by Hardman's, another has enameled cherubs in the tracery that look late 17th century (the main lights replaced with garish quarries c1810 - I restored this window about 12 years ago).
The church is normally kept locked, something I've never really understood as it is well off the beaten track in a secluded community and most churches in the Shipston on Stour area are generally open. It's also one of the better churches hereabouts.
I don't recall seeing a keyholder notice but have heard from a friend that the key can normally be got from the big house next door.
Terra Cotta ornamentation on windows in the Manhattan Building on South Dearborn Street in Chicago, Illinois.
Cooper is never allowed on counters or window sills. This photo taken by his collar camera caught him birdwatching from the upstairs window sill.
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My grandmother on Thanksgiving when my dad was little. Check out the vertical scrunchies on the windows. Was that really a thing in 1960? And I have never before seen my grandmother wear flats. She always wore heels. She had two closets full of heels.
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.
My window is my place of joy. When I become upset, I stand before it & slowly my mind becomes well.
Everyday I found newer things over here and I can see all of my dreams,success,future & possibilties through the window..........
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.
A photo from a long ago trip to London, England... This is in Wimbledon. I felt inspired to attempt a painting based on this scene. Here's a link to the painting: flic.kr/p/7zqCSn
Finally got the update!
Even though, had to force it a little www.wpcentral.com/forcing-windows-phone-78-update-camera-...