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Three hardey enthusiasts record the wagon numbers as 66556 brings the 07:50 Felixstowe to Lawley Street Freightliner through Water Orton Station on a wet and windy 27th of February 2017.
I dedicate this picture to my plucky fish and aquarium model, Lippy, who passed away about a week ago. He was the last one left in the aquarium and I just found him being sucked into the filter one morning. He was a good pet and we had a good 7 years together. I hope you're happy up there in fishy heaven swimming to your heart's content. I will miss you!
Taken at Kew Beach, Toronto, Ontario after yesterday's heavy rainfall
Started in July 2019. the $50 million, three-story building project faced pandemic-related supply chain delays but was completed on budget. The new city hall is approximately 135,000 square feet and is located between the former City Hall and Building 2. More than 300 people will be providing all the same services – Treasurer, Revenue, DMV, City Clerk, Council Chambers, Volumeter Resources, and Communications.
Photography - Craig McClure
22177
© 2022
ALL Rights reserved by City of Virginia Beach.
Contact photo[at]vbgov.com for permission to use. Commercial use not allowed.
Dedication in the Annunciation window of the Lady Chapel of St Peter & St Paul church, Abington, Northampton. In memory of Muriel Kathleen Jarman. Glass by Patrick Reyntiens to the design of John Piper. 1982.
I use Elastiband ® on this video : How to do Diamond push-up with Elastiband for more resistance! www.youtube.com/watch?v=tntmTQcko_8
THE HAZZARD RANGE HERALD
As the Second anniversary of the killing and wounding of officers in East Railroad cut canyon nears a dedication ceremony of the memorial for the four officers who lost there lives here and Three that were wounded takes place. Two other ceremonies took place in Sparta and in Philipsburg This article appeared in June 2 2011 edition of THE HAZZARD RANGE HERALD .
Three Hazzard Range county Sheriff's Office Officers Deputy Ray Vallez , Deputy Juliet Gurule and Lieutenant Reba Pam along with Clay County Sheriff's Office deputy Andy Tempe who were killed on May 28 2011 ,as four suspects open fire on them at east railroad cut canyon in Hazzard Range national forest campground . The Four suspects were suspected in robbing three banks in NM on Memorial day weekend 2011 they were spotted in Sparta and lead Deputy Ray Vallez and Lieutenant Reba Pam on a highspeed chase . The chase ended 38 miles west of Sparta in east railroad cut canyon campground , suspects had crashed their vehicle killing one of them As HRCSO Deputy Ray Vallez step out of his unit he was shot and killed . Lieutenant Reba Pam radioed for backup HRCSO Deputy Juliet Gurule and SERGEANT Steve Hundson arrived on scene as about the same time two Clay County Sheriff's Office Deputies Andy Tempe and Terri Topeka arrived on scene . HRCSO deputy Juliet Gurule was shot twice and died 2 days later at a Albuquerque Hospital . SERGEANT Steve Hundson was severely hurt along with CCSO Deputy Terri Topeka . With more backup still miles away two of four suspects dead ,HRCSO Lieutenant Reba Pam who was already shot and CCSO deputy Andy Tempe shot killed one more of the suspects ,but HRCSO Lieutenant Reba Pam was shot and killed in the process . CCSO deputy Andy Tempe was found 500 feet from his unit he was shot four times .
HRCSO Lieutenant BUBBA Sanchez was the first of many officers to arrived on scene as he pulled into the campground his back window was shot out CCSO Deputy Rick Fry arrived on scene next he open fire on last suspects ,the male suspect returned fire hit Deputy Rick Fry in the hand .HRCSO Lieutenant BUBBA Sanchez shot and killed a last Suspect but not before the Suspect shot and wounded New Mexico State police officer Dan sealer as he got out of his unit . The Suspects were later identified as brothers 19 year old Jesse Mbca , 21 year old James Mbca ,Their sister Beth Mbca and friend Dan hammer .
Thai Farmer and Jasmine rice seeding:
After harvest;
-put grains under good sun for three days
-then soaked in water for three nights
-then drained for 2 nights for germination;
-after the field is smoothly prepared
-then spread the seed carefully and evenly on the mud puddle plots
-wait for one months before getting ready to be plug out as young paddies.
One of my dearest contacts is Geza Singer. Tom was lucky enough to buy his Oly XZ-1 when he was in London about 2 weeks ago and they met. My loss that I was not there. I admire Geza's work tremendously and he continues to inspire me, encourage me and make me look at things from new perspectives. I have learnt a lot about 'schmocus' from him (cannot do it like he does.......). Okay so here's a summer schmocus with grasses, comfrey and beans.
Geza is here
www.flickr.com/photos/10117904@N07 and one of my favourite schmocus images of his is here
www.flickr.com/photos/just_solutions/6831438943/in/photos...
have a good Thursday everyone. Our new nanny has been beaten up by her brother so I am off to the doctor with her now.
Update on Amanda: she has been to see the doctor who took particulars, measured bruises and will submit a report to the police when Amanda lays a charge. The tenderness and kindness of this medical practitioner is in stark contrast to the brother's violent actions this morning.
There's something quite serene about waking up before the sun and taking in the day. No one else is awake, the world is still quiet... It's not the easiest thing to do. It takes a certain level of dedication. Dedication to catch the perfect wave. Dedication to get the perfect shot. Dedication that pays off in the end.
Manly Beach, Sydney.
600d, 45mm, ISO100, 1/200sec, f/8.0
Processed in LR5.
You have to look Nice Large or even Original is better to appreciate the detail.
For my lovely and mad friend Hulapooper. I don't think flickr would be the same without her. She's friendly and fun and always disappearing just like the beautiful Butterflies that visit us in the 'Summer' months.
I've never had so many invites to different groups, but that's not what's important. It's her vibrancy, laughter and her comical way of sporadicly turning up when you least expect it that's lovely and amusing. Oh I forgot talent ;) Thank you Denise for making flickr such fun and a joy to be part of.
I just loved the bokeh Peacock Butterfly in this image even though the colours aren't so good.
I took part in a fantastic shoot organised by Milly Colley aka millypix for Lostboys yesterday. It was great fun assisting Milly. She went above and beyond the cal of duty in this one lying in a bed of nettles to get the angle. That's dedication. Please check out her stream by clicking on the link opposite
O and I coudn't resist this link www.youtube.com/watch?v=6jzWRYr-b_Y
八坂神社 節分 奉納舞
Traditional end of winter ghost at Miyakawa street. located in Kyoto, Japan.
祇園東 叶家 舞妓 叶久 Kanohisa
Taken at an archery event on the University of Limerick campus recently. This competitor was undeterred by the pouring rain. His concentration never wavered.
Otto didn't know exactly what the fellows were looking for, but it was good to see them being so dedicated to their work. Otto liked a good work ethic!
On August 10, 2020, FDNY Commissioner Daniel A. Nigro presided over a plaque dedication ceremony in honor of Lt. Brian J. Sullivan at Squad 41 in the Bronx.
Grampian Corsair passes Aberdeen Harbours North Pier breakwater on her journey across the North Sea.
Footdee is an area of Aberdeen, Scotland known locally as "Fittie". It is an old fishing village at the east end of the harbour. The name is actually folk etymology. Far from being "Foot of the Dee/Fit o the Dee", it is actually a corruption of a former dedication to a "St Fothan".
The area has had a settlement as far back as the Medieval times and the first recorded reference to the area of Fittie was in the year 1398. This village was slightly further North than where Footdee is now located. It would have been near to where the St Clement's Church is located.
Footdee is a particularly interesting example of a planned housing development purpose-built to re-house Aberdeen's local fishing community. Laid out in 1809 by John Smith, then Superintendent Of The Town's Public Works. Smith went on to establish himself as one of Aberdeen's key architects. Occupying an isolated spit of land to the SE of Aberdeen's city centre, its regimented squares have been described as a cross between the neo-classical aspirations of Aberdeen and the close-knit fishing communities of the north-east.
The two squares of 'Fish Town' (known as Footdee), originally contained 28 single-storey thatched houses although this increased when the later Middle Row (circa 1837) and Pilot Square (circa 1855) were added. The entrances on each of the North and South squares were filled in the 1870s by William Smith (son of John and architect of Balmoral Castle). He also added additional storeys to the East and West sides of South Square creating a tenement feel. This was an attempt to ease crowding resulting from an influx of fishing families from other less prosperous areas and to help try to enforce the 'one-house-one-family' rule.
The Town Council decided to start selling the dwellings to occupiers in 1880, beginning a period of incremental development and reconstruction. Additional storeys and dormers were added piecemeal by the new owners as funds allowed. The result is one of individuality expressed within the constraints of a strictly formal plan and is a contributing factor to the special architectural and historical interest of Footdee as a whole.
Throughout the 19th century, 'tarry sheds' were added to the communal land within the squares opposite each dwelling and now every dwelling has its own shed. Originally constructed from drift wood and other found materials, the sheds have been built and rebuilt in an idiosyncratic manner over the years in a variety of materials with rendered brick now predominating slightly (2006). Some timber built sheds remain, predominantly on the North side of North Square.
North Square Mission Hall occupies the central area of the North Square, reflecting its significance as an integral part of village life. The building is plain, with simple detailing throughout, and as such, responds sympathetically to its setting and context. Known locally as 'the schoolie' the hall was built for general as well as religious purposes and continues to operate as a multi-purpose meeting space.
The entire Footdee village was added to the statutory list in 1967 as a single entity. The village was subsequently given Conservation Area status in 1968. At resurvey in 2006, each building within the Conservation Area was re-assessed separately. Key examples, demonstrating both individual architectural interest and representing the history and development of the village as a whole, were selected for listing.
On an 1828 map, the new housing squares were specifically labelled 'Fish Town'. 'Footdee' referred to the larger area from St. Clement's Church to 'Fish Town'. Later, the name 'Footdee' was erroneously used to refer specifically to the housing squares, with 'Fish Town' becoming forgotten.
On Tuesday 25 September 2012, Footdee became covered in foam from the sea after experiencing strong wind and rain conditions. The effect was like a blanket of snow and this made the UK national news.
A few notes:
This is my first official HDR of 2010 (I decided to reintroduce a lot of contrast and I specifically processed it to be more natural).
This shot is called "Dedication" because it was approximately -6 degrees out when I took this series. Yes, you read that right -- 6 below zero. The wind chill was somewhere around -15 to -20.
This is a 6-shot panorama, with each shot being 6 exposures. It was taken on my 5D Mark II with a 1.8 50mm lens at f/11. I've found that this lens, stopped way down, makes for insanely detailed panoramas.
It's best viewed large (contacts only, sorry). Even then, I reduced the size down for uploading. As big as the large Flickr version is, the original is nearly twice the size.
And yes, I have shot from this same parking garage about a billion times. Can you blame me?
This is dedicated for u my friends ..
This was last Ramdhan in AD Officers Club .. in the event of the NATIONAL ART FAIR that was held their .. we had a lot of fun don’t we droubi & ~*FuLL MoOn*~ & DreamyEyes *hugz* ^__*
History
The Bishop's throne
The city of Chester was an important Roman stronghold. There may have been a Christian basilica on the site of the present cathedral in the late Roman era, while Chester was controlled by Legio XX Valeria Victrix. Legend holds that the basilica was dedicated to St Paul and St Peter. This is supported by evidence that in Saxon times the dedication of an early chapel on this site was changed from St Peter to St Werburgh. In the 10th century, St Werburgh's remains were brought to Chester, and 907 AD her shrine was placed in the church. It is thought that Ethelda turned the church into a college of secular canons, and that it was given a charter by King Edgar in 968. The abbey, as it was then, was restored in 1057 by Leofric, Earl of Mercia and Lady Godiva. This abbey was razed to the ground around 1090, with the secular canons evicted, and no known trace of it remains.
In 1093 a Benedictine monastery was established on the site by Hugh Lupus, Earl of Chester, and the earliest surviving parts of the structure date from that time. The abbey church was not at that time the cathedral of Chester; from 1075 to 1082 the cathedral of the diocese was the nearby church of St. John the Baptist, after which the see was transferred to Coventry. In 1538, during the dissolution of the monasteries, the monastery was disbanded and the shrine of St Werburgh was desecrated. In 1541 St Werburgh's abbey became a cathedral of the Church of England by order of Henry VIII. At the same time, the dedication was changed to Christ and the Blessed Virgin. The last abbot of St Werburgh’s Abbey, Thomas Clarke, became the first dean of the new cathedral at the head of a secular chapter.
While no trace of the 10th century church has been discovered, there is much evidence of the monastery of 1093. This work in the Norman style may be seen in the north west tower, the north transept and in remaining parts of the monastic buildings. The abbey church, beginning with the Lady Chapel at the eastern end, was extensively rebuilt in Gothic style during the 13th and 14th centuries. At the time of the dissolution of the monasteries, the cloister, the central tower, a new south transept, the large west window and a new entrance porch to the south had just been built in the Perpendicular style, and the south west tower of the façade had been begun. The west front was given a Tudor entrance, but the tower was never completed.
In 1636 the space beneath the south west tower became a bishop's consistory court. It was furnished as such at that time, and is now a unique survival in England. Until 1881, the south transept, which is unusually large, also took on a separate function as an independent ecclesiastical entity, the parish church of St Oswald. Although the 17th century saw additions to the furnishings and fittings, there was no further building work for several centuries. By the 19th century, the building was badly in need of restoration. The present homogeneous appearance that the cathedral presents from many exterior angles is largely the work of Victorian restorers, particularly Sir George Gilbert Scott. The twentieth century has seen continued maintenance and restoration. In 1973–75 a detached belfry designed by George Pace was erected in the grounds of the cathedral. In 2005 a new Song School was added to the cathedral.
External appearance
The cathedral is built of New Red Sandstone, like the cathedrals of Carlisle, Lichfield and Worcester. The stone lends itself to detailed carving, but is also friable to rain and wind, and is badly affected by pollution. With the other red sandstone buildings, Chester is one of the most heavily restored of England's cathedrals. The restoration, which included much refacing and many new details, took place mainly in the 19th century.
Because the south transept is similar in dimension to the nave and choir, views of the building from the south-east and south-west give the impression of a building balanced around a central axis, with its tower as the hub.See image, top The tower is of the late 15th century Perpendicular style, but its four large battlemented turrets are the work of the restoration architect George Gilbert Scott. With its rhythmic arrangement of large, traceried windows, pinnacles, battlements and buttresses, the exterior of Chester Cathedral presents a fairly homogeneous character, which is an unusual feature as England's cathedrals are in general noted for their stylistic diversity. Close examination reveals window tracery of several building stages from the 13th to the early 16th century. The richness of the 13th-century tracery is accentuated by the presence of ornate, crocketted drip-mouldings around the windows; those around the perpendicular windows are of simpler form.See image, top
The west front of the cathedral is not of particular architectural significance, as neither of its towers was completed. To the north is lower stage of a Norman tower, while to the south is the lower stage of a tower designed and begun, probably by Seth and George Derwall, in 1508, but left incomplete following the dissolution of the monastery in 1538. The façade is dominated by a large eight-light window in the Perpendicular style, which rises above a Tudor screen-like porch.The cathedral's façade is largely obscured from view by the building previously used as the King's School, which is now a branch of Barclays Bank. The door of the west front is not used as the normal entrance to the cathedral, which is through the south west porch. This porch was probably designed by Seth Derwall, and it formed part of the same late 15th-century building programme as the south transept, central and southwest towers, and cloister.
The nave, looking towards the choir
Interior
The interior of Chester Cathedral gives a warm and mellow appearance because of the pinkish colour of the sandstone. The proportions appear spacious because the view from the west end of the nave to the east end is unimpeded by a pulpitum and the nave, although not long, is both wide and high compared with many of England's cathedrals. The piers of the nave and choir are widely spaced, those of the nave carrying only the clerestory of large windows with no triforium gallery.See image, left The proportions are made possible partly because the ornate stellar vault, like that at York Minster, is of wood, not stone.
Norman remnants
The present church, dating from around 1283 to 1537, replaced the earlier monastic church founded in 1093 and built in the Norman style. It is believed that the newer church was built around the older one. That the few remaining parts of the Norman church are of small proportions, while the height and width of the Gothic church are generous would seem to confirm this belief. Aspects of the design of the Norman interior are still visible in the north transept, which retains wall arcading and a broadly moulded arch leading to the sacristy, which was formerly a chapel. The transept has retained an early 16th-century coffered ceiling with decorated bosses, two of which are carved with the arms of Henry VIII and Cardinal Wolsey.
The north west tower is also of Norman construction. It serves as the baptistry and houses a black marble font, consisting of a bowl on a large baluster dating from 1697. The lower part of the north wall of the nave is also from the Norman building, but can only be viewed from the cloister because the interior has been decorated with mosaic.
Early English
The Early English Gothic chapter house, built between 1230 and 1265, is rectangular and opens off a "charming" vestibule leading from the north transept. The chapter house has grouped windows of simple untraceried form. Alec Clifton-Taylor describes the exterior of this building as a "modest but rather elegant example of composition in lancets" while Pevsner says of the interior "[It is] a wonderfully noble room" which is the "aesthetic climax of the cathedral". To the north of the chapter house is the slype, also Early English in style, and the warming room, which contains two large former fireplaces. The monastic refectory to the north of the cloister is of about the same date as the chapter house.
The Lady Chapel to the eastern end of the choir dates from between 1265 and 1290. It is of three bays, and contains the Shrine of St Werburgh, dating from the 14th century. The vault of the Lady Chapel is the only one in the cathedral that is of stone. It is decorated with carved roof bosses representing the Trinity, the Virgin and Child, and the murder of St Thomas à Becket. The chapel also has a sedilia and a piscina.
Decorated Gothic
The choir, looking towards the nave
The choir, of five bays, was built between 1283 and 1315 to the design of Richard Lenginour, and is an early example of Decorated Gothic architecture. The piers have strongly modelled attached shafts, supporting deeply moulded arches. There is a triforium gallery with four cusped arches to each bay.See image, right The sexpartite vault, which is a 19th century restoration, is supported by clusters of three shafts which spring from energetic figurative corbels. The overall effect is robust, and contrasts with the delicacy of the pinnacled choir stalls, the tracery of the windows and the rich decoration of the vault which was carried out by the ecclesiastical designers, Clayton and Bell. The choir stalls, dating from about 1380, are one of the glories of the cathedral.
The aisles of the choir previously both extended on either side of the Lady Chapel. The south aisle was shortened in about 1870 by George Gilbert Scott, and given an apsidal east end, becoming the chapel of St Erasmus. The eastern end of the north aisle contains the chapel of St Werburgh.
The nave of six bays, and the large, aisled south transept were begun in about 1323, probably to the design of Nicholas de Derneford. There are a number of windows containing fine Flowing Decorated tracery of this period. The work ceased in 1375, in which year there was a severe outbreak of plague in England. The building of the nave was recommenced in 1485, more than 150 years after it was begun. The architect was probably William Rediche. Remarkably, for an English medieval architect, he maintained the original form, changing only the details. The nave was roofed with a stellar vault rather like that of the Lady Chapel at Ely and the choir at York Minster, both of which date from the 1370s. Like that at York, the vault is of wood, imitating stone.
Perpendicular Gothic
From about 1493 until 1525 the architect appears to have been Seth Derwall, succeeded by George Derwall until 1537. Seth Derwall completed the south transept to a Perpendicular Gothic design, as seen in the transomed windows of the clerestory. He also built the central tower, southwest porch and cloisters. Work commenced on the south west tower in 1508, but it had not risen above the roofline at the time of the dissolution of the monasteries, and has never been completed. The central tower, rising to 127 feet (39 m), is a “lantern tower” with large windows letting light into the crossing. Its external appearance has been altered by the addition of four battlemented turrets by George Gilbert Scott in the 19th century.
The Perpendicular Gothic cloister is entered from the cathedral through a Norman doorway in the north aisle. The cloister is part of the building programme that commenced in the 1490s and is probably the work of Seth Daerwell.
The south wall of the cloister, dating from the later part of the Norman period, forms the north wall of the nave of the cathedral, and includes blind arcading.
Among the earliest remaining structures on the site is an undercroft off the west range of the cloisters, which dates from the early 12th century, and which was originally used by the monks for storing food.
It consists of two naves with groin vaults and short round piers with round scalloped capitals.
Leading from the south of the undercroft is the abbot's passage which dates from around 1150 and consists of two bays with rib-vaulting. Above the abbot's passage, approached by a stairway from the west cloister, is St Anselm's Chapel which also dates from the 12th century. It is in three bays and has a 19th-century Gothic-style plaster vault. The chancel is in one bay and was remodelled in the early 17th century. The screen, altar rails, holy table and plaster ceiling of the chancel date from the 17th century. The north range of the cloister gives access to a refectory, built by Simon de Whitchurch in the 13th century. It contains an Early English pulpit, approached by a staircase with an ascending arcade. The only other similar pulpit in England is in Beaulieu Abbey.
The Quadripartite vault of the choir
the 19th century the fabric of the building had become badly weathered, with Mr. Charles Hiatt writing that "the surface rot of the very perishable red sandstone, of which the cathedral was built, was positively unsightly" and that the "whole place previous to restoration struck one as woebegone and neglected; it perpetually seemed to hover on the verge of collapse, and yet was without a trace of the romance of the average ruin". Between 1818 and 1820 the architect Thomas Harrison restored the south transept, adding corner turrets. This part of the building served until 1881 as the parish church of St Oswald, and it was ecclesiastically separate. From 1844 R. C. Hussey carried out a limited restoration including work on the south side of the nave.
The most extensive restoration was carried out by the Gothic Revival architect, Sir George Gilbert Scott, who between 1868 and 1876 "almost entirely recased" the cathedral. In addition to extensive additions and alterations to the body of the church, Scott remodelled the tower, adding turrets and crenellations. Scott chose sandstone from the quarries at Runcorn for his restoration work. In addition to the restoration of the fabric of the building, Scott designed internal fittings such as the choir screen to replace those destroyed during the Civil War. He built the fan vault of the south porch, renewed the wooden vault of the choir and added a great many decorative features to the interior. Later in the century, from 1882, Sir Arthur Blomfield and his son Charles made further additions and modifications, including restoring and reinstating the Shrine of St Werburgh. More work was carried out in the 20th century by Sir Giles Gilbert Scott between 1891 and 1913, and by F. H. Crossley in 1939.
Rare fittings
The treasures of Chester Cathedral are its rare fittings, specifically its choir stalls and the 17th century furnishing of the bishop’s consistory court in the south tower, which is a unique survival. The choir stalls date from about 1380. They have high, spiky, closely set canopies, with crocketed arches and spirelets. The stall ends have poppyheads and are rich with figurative carving. The stalls include 48 misericords, all but five of which are original, depicting a variety of subjects, some humorous and some grotesque. Pevsner states that they are "one of the finest sets in the country",while Alec Clifton-Taylor calls them “exquisite” and says of the misericords that “for delicacy and grace [they] surpass even those at Lincoln and Beverley”.
Stained glass
Chester suffered badly at the hands of the Parliamentary troops. In consequence, its stained glass dates mainly from the 19th century. Of the earlier Victorian firms, William Wailes is the best represented here, as well as Hardman & Co.. Glass from the High Victorian period is well represented by two leading London firms, Clayton and Bell and Heaton, Butler and Bayne. The Aesthetic style is represented by Kempe. There are also several notable modern windows, the most recent being the refectory window of 2001 by Ros Grimshaw which depicts the Creation.
Organ
In 1844, an organ by Gray & Davison of London was installed in the cathedral, replacing an instrument with parts dating back to 1626. The organ was rebuilt and enlarged by Whiteley Bros of Chester in 1876, to include harmonic flutes and reeds by Cavaillé-Coll. It was later moved to its present position at the front of the north transept. In 1910 William Hill & Son of London extensively rebuilt and revoiced the organ, replacing the Cavaillé-Coll reeds with new pipes of their own. The choir division of the organ was enlarged and moved behind the choirstalls on the south side. The instrument was again overhauled by Rushworth and Dreaper of Liverpool in 1969, when a new mechanism and some new pipework made to a design drawn up by Roger Fisher was installed. Since 1991 the organ has been in the care of David Wells of Liverpool.
Communion plate
The communion plate includes two flagons dated 1662–63, two small and two large patens dated 1662, a silver chalice dating from about 1665, a silver gilt alms dish dated 1669, a chalice spoon of 1691, two small alms dishes dated 1737, two chalices dated 1838, a small chalice dated 1897, a small paten of 1903, two candlesticks dated 1662 and two vergers' maces of 1662.
Tour of features
Nave
The west end of the nave is dominated by an eight-light window in the Perpendicular Gothic style which almost fills the upper part of the west wall. It contains stained glass designed by W. T. Carter Shapland dating from 1961 and depicts the Holy Family in the middle two lights, flanked by the northern saints Werburgh, Oswald, Aidan, Chad and Wilfrid, and Queen Ethelfleda.
The stained glass in the north aisle, dated 1890, is by Heaton, Butler and Bayne.[35] The south aisle includes three stained glass windows, dated 1992, designed and made by Alan Younger to replace windows damaged in the Second World War. They were donated by the 6th Duke of Westminster to celebrate the 900th anniversary of the cathedral.[36] The stained glass in another window in the south aisle is by William Wailes, dated 1862.The stone nave pulpit was designed by the restorer R. C. Hussey and the lectern, dated 1876, is by Skidmore.] The mosaic floor of the tower bay was designed by Dean Howson and executed by Burke and Co. The same firm installed the mosaics which decorate the wall of the north aisle, depicting the patriarchs and prophets Abraham, Moses, David and Elijah. They were designed by J. R. Clayton of Clayton and Bell, and date from 1883–86.
Monuments in the nave include those to Roger Barnston, dated 1838, by John Blayney, to Bishop Stratford, dated 1708, to Bishop Hall who died in 1668, to Edmund Entwistle, dated 1712, to John and Thomas Wainwright who died respectively in 1686 and 1720, to Robert Bickerstaff who died in 1841 by Blayney, to Dean Smith who died in 1787 by Thomas Banks, and to Sir William Mainwaring, dated 1671.
Choir stall with canopy and misericord
Choir
The most famous feature of the choir is the set of choir stalls, dating from about 1380, and described above. The lectern, in the form of a wooden eagle, symbol of John the Evangelist, dates from the first half of the 17th century. The candlesticks also date from the 17th century and are by Censore of Bologna who died in 1662.
With these exceptions, most of the decoration and the fittings of the choir date from the 19th century and are in keeping with the Gothic Revival promoted by the Oxford Society and Augustus Welby Pugin. The restored vault of the choir is typical of the period, having been designed by Scott and decorated and gilded by Clayton and Bell.
The choir is entered through a screen designed by Sir George Gilbert Scott, with gates made by Skidmore. The rood was designed by Sir Giles Gilbert Scott, and was made by F. Stuflesser. The bishop’s throne or “cathedra” was designed by George Gilbert Scott to complement the choir stalls. It was constructed by Farmer and Brindley in 1876. The reredos and the floor mosaic date from 1876, and were designed by J. R. Clayton. The east window has tracery of an elegant Decorated Gothic design which is filled with stained glass of 1884 by Heaton, Butler and Bayne.
Lady Chapel
The 13th century Lady Chapel contains the stone shrine of St Werburgh which dates from the 14th century and which used to contain her relics. The shrine, of the same pink stone as the cathedral, has a base pierced with deep niches. The upper part takes the form of a miniature chapel containing statuettes. During the dissolution of the monasteries it was dismantled. Some of the parts were found during the 1873 restoration of the cathedral and the shrine was reassembled in 1888 by Blomfield. A carving of St Werburgh by Joseph Pyrz was added in 1993. Also in the chapel are a sedilia and a piscina. The stained glass, dated 1859, is by William Wailes. The chapel contains a monument to Archdeacon Francis Wrangham, made by Hardman & Co. and dating from 1846.
North choir aisle
The north choir aisle has a stone screen by R. C. Hussey and an iron gate dated 1558 that came from Guadalajara. At the east end of the aisle is the chapel of St Werburgh which has a vault of two bays, and an east window depicting the Nativity by Michael O'Connor, dated 1857. Other stained glass windows in the north aisle are by William Wailes, by Heaton, Butler and Bayne, and by Clayton and Bell. The chapel contains as a piscina dating from the 14th century, and monuments to Bishop Graham dated 1867, and to William Bispham who died in 1685, Other monuments in the north aisle include a tablet to Bishop Jacobson, dated 1887, by Boehm to a design by Blomfield.
North transept, sacristy and chapter house
The small Norman transept has clerestory windows containing stained glass by William Wailes, dated 1853. The sacristy, of 1200, has an east window depicting St Anselm, and designed by A. K. Nicholson. In the north transept is a freestanding tombchest monument to Bishop Pearson who died in 1686, designed by Sir Arthur Blomfield and carved by Nicholas Earp, with a recumbent effigy by Matthew Noble. Other monuments in the transept include one to Samuel Peploe, dating from about 1784, by Joseph Nollekens. The wall monuments include cenotaphs to members of the Cheshire (Earl of Chester's) Yeomanry killed in the Boer War and in the First and Second World Wars. At the corner of the transept with the north aisle is a 17th-century Tree of Jesse carved in whale ivory. A niche contains a rare example of a "cobweb picture", painted on the web of a caterpillar. It depicts Mary and the Christ-Child, and is based on a painting by Lucas Cranach the Elder.
The chapter house has stained glass in its east window by Heaton, Butler and Bayne and grisaille windows in the north and south walls, dated 1882–83, by Blomfield. It contains an oak cope cupboard from the late 13th century, and houses part of the cathedral library. In the vestibule is a copy of Ranulf Higdon's Polychronicon.[46] The front of the chapter house was rebuilt to a design by Hussey.
South choir aisle
Flowing Decorated tracery and glass by Heaton, Butler and Bayne in the south transept
The south aisle was shortened in about 1870 by Scott, and given an apsidal east end, becoming the chapel of St Erasmus. The stained glass in the apse window is dated 1872 and is by Clayton and Bell. Below this is a mosaic designed by J. R. Clayton and made by Salviati, and a fresco painting by Clayton and Bell, dated 1874. Elsewhere the stained glass in the aisle is by Wailes, and by Hardman & Co. to a design by Pugin.[42] The aisle contains the tomb of Ranulf Higdon, a monk at St Werburgh's Abbey in the 12th century who wrote a major work of history entitled Polychronicon,[47] a monument to Thomas Brassey (a civil engineering contractor who died in 1870), designed by Blomfield and made by Wagmuller, a monument to Bishop Peploe who died in 1752, and three painted monuments by Randle Holme.
South transept
The south transept, formerly the parish church of St Oswald contains a piscina and sedilia in the south wall. On the east wall are four chapels, each with a reredos, two of which were designed by Sir Giles G. Scott, one by Kempe and the other by his successor, W.E. Tower. The south window is dated 1887 and was made by Heaton, Butler and Bayne to a design by R. C. Hussey. Other stained glass in the transept is by Clayton and Bell, by C. E. Kempe and by Powell. The monuments include those to George Ogden who died in 1781, by Hayward, to Anne Matthews who died in 1793, by Thomas Banks, to John Philips Buchanan who died at Waterloo in 1815, and to the first Duke of Westminster, designed by C. J. Blomfield. On the wall of the southwest crossing pier are monuments which include a cenotaph to the casualties in HMS Chester in the Battle of Jutland in 1916 who included the 16-year-old Jack Cornwell VC. The west wall of the south transept has many memorials, including cenotaphs to the Cheshire Regiment, the Royal Air Force and the Free Czech Forces.
Cloisters and refectory
The cloisters were restored in the 20th century, and the stained glass windows contain the images of some 130 saints.[26] The cloister garth contains a modern sculpture entitled The water of life by Stephen Broadbent. The refectory roof is dated 1939 and was designed by F. H. Crossley. The east window with reticulated tracery was designed by Sir Giles G. Scott and is dated 1913. The stained glass in the west window, depicting the Creation, was designed by Ros Grimshaw and installed in 2001 to celebrate the Millennium. On the refectory's west wall there is a tapestry depicting Elymas being struck with blindness which was woven at Mortlake in the 17th century from a cartoon by Raphael. The heraldic paintings on the north wall represent the arms of the Earls of Chester.
Bell tower
Towards the end of 1963 the cathedral bells, which were housed in the central tower, were in need of an overhaul and ringing was suspended. In 1965 the Dean asked George Pace, architect to York Minster, to prepare specifications for a new bell frame and for electrification of the clock and tolling mechanism. Due to structural difficulties and the cost of replacing the bells in the central tower it was advised that consideration should be given to building a detached bell and clock tower in the southeast corner of the churchyard. It was decided to proceed with that plan, and in 1969 an announcement was made that the first detached cathedral bell tower was to be erected since the building of the campanile at Chichester Cathedral in the 15th century. In February 1969, nine of the ten bells in the central tower were removed to be recast by John Taylor & Co as a ring of twelve bells with a flat sixth. The new bells were cast in 1973. Work on the new bell-tower began in February 1973. Two old bells dating from 1606 and 1626 were left in the tower. On 26 February 1975 the bells were rung for the first time to celebrate the wedding of a member of the Grosvenor family. The official opening on 25 June 1975 was performed by the Duke of Gloucester. The belfry is known as the Dean Addleshaw Tower, after the dean of the cathedral responsible for its construction. Between the bell tower and the south transept is a garden in remembrance of the Cheshire Regiment (originally the 22nd Regiment of Foot).
The choral tradition at Chester is 900 years old, dating from the foundation of the Bendedictine monastery. There are usually ten choral services at the cathedral each week. Chester has a cathedral choir of male lay clerks, boy trebles and since 1997 the cathedral has recruited a choir of girl choristers, who sing on alternate Sundays to the boys and the same number of weekday services. There is no choir school at Chester, so the choristers come from local schools. On occasions the boy and girl choristers sing together. There is also a nave choir which sings Evening Prayer on Sundays, and sometimes joins with the cathedral choir on special occasions. The nave choir was formed in the middle of the 19th century, and was England’s first voluntary cathedral choir. The director of music is Philip Rushforth and the assistant organist is Ian Roberts. There are lunchtime organ recitals weekly on Thursday.The monthly program of music is available on the cathedral's website.
My friend, Alice, passed today to be with our Lord. She was my very best friend's mother and was like a second mother to me. She is no longer suffering and now is at peace. She loved nature and was thrilled that I took up nature photography and encouraged me all the way. Alice, you will always be with us. My love goes to Gloria, Edmund, Jackie and Cecil.
Earlier this summer we drove South of Edmonton to the town of Morinville where they were celebrating St. Jean Baptiste Day. This chrome bell was mounted on the front bumper of a fire truck ,dedicated to the brave men and women who serve on the Morinville volunteer fire department.
Installed on the norther nave of the former Saint George's Presbyterian Church, the Thomas and Agnes Clerke stained glass memorial window was commissioned by their daughter Florence in 1935. I believe the window was designed by Brooks, Robinson and Company Glass Merchants.
The window features the three Marys at the tomb of Jesus where they were met by an angel of the Lord who told them "He is not here, he has risen", which appears in the Gospel of Matthew from the King James Bible. This line from the bible is quoted at the bottom of the main panels above the dedication panels. The three Marys appear in the left-hand mail panel, with Mary Magdalene identifiable by her loose tresses. Mary, Jesus' Mother is wearing a blue robe. Appearing in the right-hand panel, the angel points to the empty tomb to indicate where Jesus has gone. The crown of thorns he wore sits, discarded, on the edge of the tomb. The quatrefoil of the stained glass window features the letters TAC, which I believe stands for Thomas and Agnes Clerke.
I could not find any information on Thomas or Agnes Clerke.
Rising proudly on the rise of a hill, the former Saint George’s Presbyterian Church, which stands on the corner of Latrobe Terrace and Ryrie Street on the outskirts of the Geelong central business district, began its construction in 1860. Designed by architect Nathaniel Billing in Victorian English Gothic style, the original large nave of the church, with vestry and apse were constructed of irregularly coursed basalt with Hawksbury River freestone dressings. The initial build was erected and completed in 1861 by contractors Brown and Gibson. The foundation stone was laid on 12 June 1861. The large and finely constructed church reflects the wealth of many of the church's foundation patrons, which included Francis Ormond and other Western District Squatters. The former Saint George’s Presbyterian Church is a significant and intact work of Nathaniel Billing, who was well known for ecclesiastical architecture. The original church was expanded with the addition of transepts in 1908, and finally a spire and tower in 1936. The tower and spire were donated as a seventy-fifth anniversary gift by wealthy parishioners James McPhillimy and his sister Louise. The McPhillimy family were not only wealthy parisioners, but were also long time worshipers at Saint George’s Persbyterian Church. They began worshiping there in 1886.
The inside of the former Saint George’s Presbyterian Church is quite plain, with white painted walls and three rows of blackwood pews separated by two aisles. The church features examples of its original latticed quarry glass lancet windows with one band of coloured glass, as well as several figurative stained glass windows installed later. This includes two pairs of lancet windows manufactured by Ballantyne and Company of Edinburgh, which are perhaps the church’s most beautiful windows for their wonderful colours and beautiful hand-painted details. There is also two windows by Melbourne stained glass manufacturers Brooks Robinson and Company installed in the 1930s, and a fine heritage listed stained glass window by one of Melbourne’s leading stained glass artists, William Montgomery, which commemorates the fallen of the Great War. The church’s rose window and great western window created by Melbourne stained glass manufacturer Ferguson and Urie are the oldest windows, and like the quarry glass windows, are original.
Saint George's Presbyterian Church was forced to close its doors in 2015 owing to dwindling congregation numbers, and whilst the Presbyterian Church still owns the church and manse, the manse is now rented out and has been used for both commercial and residential purposes. The church itself sits idly, its slowly weathering exterior requiring significant restoration, its garden sinking into neglect and its interior lying beneath a sheet of thick dust.
I am very grateful to the retired Presbyterian Reverend Andrew Bray, caretaker of the church at the time of photographing, for giving me an hour of his time and for letting me photograph the interior and stained glass windows so extensively.
Nathaniel Billing was born in Brightwell, Oxfordshire in 1821. Articled to the prestigious office of Sir Gilbert Scott in London, he later commenced his own architectural practice in Slough under his own name. Nathaniel married his first wife, Henrietta in 1850. Three years later the pair and their family immigrated to Australia. he was appointed to the Colonial Architect's Office in Belfast (now known as Port Fairy), but commenced his own practice there in 1855. In Port Fairy he designed Saint John's Church of England in 1856 and the Bank of Australasia in 1857. That same year, Nathaniel left Port Fairy and moved to Melbourne, where he soon had a thriving practice. In Melbourne, most of his commissions were ecclesiastical. He designed All Saints Church of England on Chapel Street in 1861 which with a seating capacity of 1,500 is the largest Church of England in the southern hemisphere, Saint Margaret's Church of England in Eltham in 1861, alterations to Melville House in Collins Street in 1881, "Steamshall" a Victorian Italianate villa in Kew in 1882, Saint Paul's Cathedral in Sale in 1884, Saint Matthias' Church of England in Richmond in 1885, the Fitzroy Cricket Ground grandstand in 1888, and extensions to Saint George's Church of England in 1889 in conjunction with the architects firm Dalton and Gibbons. Nathaniel's first wife Henrietta died in 1867 after nineteen years of marriage, four sons and five daughters. Nathaniel remarried in 1869, taking Mary Anne Hooke as his wife. They had no children together. Nathaniel's fourth child, William Urban Billing, joined his firm in 1880 and practiced as Billing and Son. They worked together until 1895 when Nathaniel retired. Nathaniel died at his home in Westbury Street East St Kilda in 1910 at the age of 88.
Brooks, Robinson and Company first opened their doors on Elizabeth Street in Melbourne in 1854 as importers of window and table glass and also specialised in interior decorating supplies. Once established the company moved into glazing and were commonly contracted to do shopfronts around inner Melbourne. In the 1880s they commenced producing stained glass on a small scale. Their first big opportunity occurred in the 1890s when they were engaged to install Melbourne's St Paul's Cathedral's stained-glass windows. Their notoriety grew and as a result their stained glass studio flourished, particularly after the closure of their main competitor, Ferguson and Urie. They dominated the stained glass market in Melbourne in the early 20th Century, and many Australian glass artists of worked in their studio. Their work may be found in the Princess Theatre on Melbourne's Spring Street, in St John's Church in Toorak, and throughout churches in Melbourne. Brooks, Robinson and Company was taken over by Email Pty Ltd in 1963, and as a result they closed their stained glass studio.
The University of Central Arkansas' Health, Physical Educaiton and Recreation (HPER) Center was dedicated during a ceremony on Monday. The expansion includes a 10,000 square feet weight room, a new Olympic-sized swimming pool, racquetball courts and exercise rooms.
First of all, I see from the Church of England website, the dedication is Laurence rather than Lawrence, so will correct my previous shots.
And with St Laurence, I have completed the listed churches in the Dover Deanery, a task that has taken some seven and a half years, and in which I have been frustrated by three churches that remained locked to me. But thanks to the internet and requesting access, I did finally get inside Whitfield, Preston and Betteshanger and cross them off the list.
I did see inside Hougham too, about 15 months ago during the Heritage Weekend, but found that the parish had arranged a festival to take place art the same time, and the inside was covered in quilts and carpets.
Of course.
St Laurence is situated on a down between Dover and Capel, and the village is dominated by the TV mast which beams us all TV and radio in the area. You approach the village up steep and narrow lanes from the Old Folkestone Road, or from River in Dover, and the church itself is in the middle of Church Hougham, down a dead end lane.
Unlike on previous visits, the door was unlocked so I dd not have to find a keyholder. The lightswitch beside the door lit just a single bulb above the doorway to the porch, but on a bright winter day, the church was full enough with light.
It was clear that the south wall of the chancel is leaning out at an alarming angle, but in fairly recent times, a buttress has been built to save it from falling.
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In its day this must have been a magnificent church. Its day would have been during the period 1100 to 1150, for a large building was constructed at this time. Even today the remains are impressive. As in many east Kent churches there is no chancel arch. There is a tremendous lean to the south chancel wall. It also shows the blocked arcade to a former south chapel. The north chapel has an impressive east window in Early English style which was copied by the Victorians when they replaced the chancel east window, and for once it is possible to compare the Victorian and medieval work almost side by side. While nineteenth-century windows are fine elsewhere in the church this juxta-position at Hougham clearly demonstrates the superiority of the medieval work. By far the most interesting feature at Hougham is the tower. The arch from the nave is particularly lofty and leads into an extremely tall and spacious chamber which can best be described as cavern-like.
www.kentchurches.info/church.asp?p=Hougham
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OR Huffam, as it is called, and frequently written in Domesday, Hicham, being so denominated from its high situation, lies the next parish eastward from Polton. Part of it only is within this hundred of Bewsborough; another part is within the hundred of Folkestone; and the residue is within the jurisdiction of the cinque ports, and of the corporation of the town and port of Dover. A borsholder, for that part of this parish which is within the hundred of Bewsborough, is chosen at the court leet of the hundred.
THE PARISH of Hougham lies among the high eastern hills of Kent, in a healthy though a very rude and wild country. In the midst of it are two streets, called Church Hougham, and East Hougham; in the former of which the church stands, and at the south-west part of it, a hamlet called West Hougham. Great part of this parish is full of small inclosures, interspersed with frequent coppice wood, and much rough ground. The soil is but poor and barren, consisting of either chalk or a red earth, covered with a rotten slint stone, with which the narrow roads here abound. Towards the eastern part of it the ground lies high, being an open uninclosed down, across which the high road leads from Folkestone to Dover, quite to the sea-shore, over which the chalk cliffs here rise to a great height; from hence there is a most beautiful prospect over the channel, and the Bologne hills on the coast of France. Near the bottom of these cliffs are three holes, called Lydden Spouts, through which the subterraneous waters empty themselves continually on the beach of the shore; and the belief of the country is, that the waters of the Nailborne, at Drelingore, in Alkham, at least four miles distant, communicate subterraneously with these spouts, which increase as the springs heighten by wind and weather. Over these spouts, in the middle of the cliff, are two large square rooms cut out of the chalk, one within the other; they are called the Coining-house, and have a very difficult way to come at them, the cliff here being upwards of four hundred feet high.
When the plague raged in London in the year 1665, it was brought to Dover, and great numbers died there of the pestilence in that and the following years, for the burial of whom a piece of ground was bought in this parish, on the side of the hill fronting the pier fort, and consecrated for that purpose. It is computed that upwards of nine hundred of those who died of this pestilence were buried in it, since which it has been constantly known by the name of the Graves.
Henry Benger, gent. was of Hougham, and resided here anno 1619, and descended from John Benger, of Maningford, in Wiltshire. They bore for their arms, Or, a cross vert, surmounted by a bendlet, gules. (fn. 1)
THE PARISH OF HOUGHAM was part of those lands which were given to Fulbert de Dover, for the desence of Dover castle, (fn. 2) which made up together the barony of Fulbert, or Fobert, as it was usually called, being held in capite by barony, of which Chilham became the chief seat, or caput baroniæof which this place, as appears by the book of Dover castle, was afterwards held by knight's service. Among these lands was included THE MANOR OF HOUGHAM, otherwise called THE ELMES, at times called by the names of Great Hougham, alias Chilverton; and likewise Southcourt, from its situation in regard to the manor of Northcourt, alias Little Hougham, in this parish.
This manor was held in manner as above-mentioned by a family who took their surname of Hougham from it. This family bore for their arms, Argent, five chevronels, sable; which Philipott (fn. 3) says they bore in allusion to those of their superior lords, of whom they held lands, the Averenches, or Albrincis, lords of the barony of Folkestone, whose arms were, Or, five chevronels, gulesFrom this family of Hougham descended those of Weddington, in Ash, near Sandwich, now extinct; and from the latter collaterally, those now of St. Paul's near Canterbury. One of the above mentioned family, Robert de Hougham, held it in king Richard I.'s reign, and was present with that king at the siege of Acon, in Palestine. At length his descendant Robert de Hougham, leaving two daughters his coheirs, of whom Benedicta was married to John de Shelving, and the other to Waretius de Valoignes, the latter became entitled to this manor, on the share of his wife's inheritance; and in the 14th year of king Edward III. obtained a charter of free-warren for this manor of Hougham. He left two daughters his coheirs, one of whom married Sir Francis Fogge; the other Maud, married Thomas de Aldelyn, or Aldon, who in her right became possessed of this manor.
Thomas de Aldelyn, or Aldon, as the name was afterwards written, died possessed of this manor in the 35th year of the above reign; but it should seem that he had no further interest in it but for his life, for Maud his wife before her death had infeoffed William Tapaline and others in this manor, and they passed it away to Stephen, Richard, and John de Combe, the latter of whom was of Hastingligh, and afterwards became sole possessor of it. He conveyed this manor in the 10th year of king Richard II. in trust to sell it; after which it came into the name of Heron, in which it remained at the end of king Henry IV.'s reign, and from which it was after some interval alienated to William Fineux, gent. of Swingfield, who had three sons; Sir John Fineux, chief justice of the king's bench, who purchased Haw-house, in Herne, under which, an account of him and his descendants may be seen; William, to whom his father gave this manor of Southcourt; and Richard, who was of Dover. (fn. 4)
William Fineux, who had this manor of Southcourt by gift of his father, resided at Hougham, and dying possessed of it in 1534, s.p. he by his will gave it to William, the eldest son of his brother Richard deceased, who afterwards resided here, and in his direct descendants it continued down to Thomas Fineux, gent. of Dover, who in king Charles II.'s reign passed away this manor to Robert Breton, gent. who resided at the mansion, called the Elmes, in this parish, formerly the residence of the Nepueus, several of whom lie buried in this church, which seat he had purchased of William Nepueu, esq. of Twickenham, the grandson of Peter, the first builder of it, who was a native of France, and came over to England upon the edict of Nantes, and brought with him a considerable property. He died in 1658, and lies buried in Hougham church. They bore for their arms, Azure, a fleece, or. Robert Breton above-mentioned was descended from the Bretons, of Barwell, and on the mother's side from the Bassingtons, of Temple Rothley, in Leicestershire, being the son > of Nich. Breton, of Norton, near Daventry. He died possessed of this estate, and was buried in this church. His great-grandson M. Breton, esq. afterwards of Kennington-house, (fn. 5) alienated both manor and seat to Robert Lacy, esq. who resided at Elmes, where he served the office of sheriff in the year 1739, and he died possessed of them about the year 1746; upon which they came to his son-in-law Granado Piggott, esq. who in 1749 passed them away to Mr. Phineas Stringer, of Dover, who died in 1757, leaving two sons, Phineas, of whom hereafter; and George, of Canterbury. Phineas, the eldest son, is of Dover, and married the daughter of Mr. Richard Rouse, of Dover, by whom he has an only daughter and heir, married to Mr. Edward Broadrip, gent. of Dover. He bears for his arms, Per chevron, or, and sable, in chief, two eagles displayed of the second; in base, a fleur de lis of the first. He succeeded his father in this manor and seat, and is the present owner of them.
A court baron is held for this manor, the boundaries of which, as I am informed, begin at High-cliff, from whence they extend along the coast, to a place called Jews-gut, and there leaving the cliff, on towards Capel, whence including West Hougham, they go down to the Elmes, and the land of Dover priory.
THE MANOR OF HOUGHAM-COURT, alias NORTHCOURT, which latter name it took from its situation in regard to the former described manor of South court, was comprehended as part of those lands which, as has been mentioned before, were given to Fulbert de Dover, and with other lands made up the barony of Fobert, of which it was held afterwards by knight's service, by the family of Basing, of eminent account in the city of London during the reigns of king John and king Henry III. for the high offices of trust which they bore in it. At length Sir Thomas de Basing succeeding to this manor, he alienated it to Adam Sare, whose heirs were in the possession of it in the 20th year of king Edward III. How it passed afterwards, I have not found, till the beginning of king Henry VI.'s reign, when it was alienated to Clive, commonly called Cliffe, a family of good account in the counties of Salop and and Essex; from whence, at the latter end of that reign, it passed by sale to William Hextal, esq. of East Peckham. One of his daughters and coheirs Margaret, entitled her husband Wm. Whetenhall, esq. commonly called Whetnall, citizen and alderman of London, to it. (fn. 6) His descendant William Whetenhall about the middle of king Henry VIII.'s reign sold it to John Boys, esq. of Fredville, in whose descendants it continued down to Major John Boys, of Fredville, who possessed it in 1656.
Before his death he alienated this manor; but now it passed afterwards I have not learned, only that it became vested in the name of Woodroofe; and in the year 1720, William Woodroofe, clerk, of Cambridgeshire, sold one moiety of it to John Walker, citizen and draper, of London, who passed it away to Francis Cabot, and he, at his death in 1753, devised it to his widow Barbara, as she did to her father Mr. Robert Cooper, of Salisbury, and her brother in law William Barnes. In 1786, this moiety was in possession of Robert, son of the above-mentioned Robert Cooper, and of Anne Barnes, and they joined in the sale of it to Mr. Michael Becker, of Dover, who in 1792 sold it to Mr. Philip Leman, of Dover castle, the present owner of it.
The other moiety continued afterwards in the descendants of William Woodroofe above-mentioned down to the Rev. Mr. Woodroofe, of Shoreham, in this county, the present possessor of it; so that this manor remains in undivided moieties at this time.
There is no court held for this manor; to it is annexed the right to wreck of the sea along the coast, from High cliff to Archcliff fort.
SIBERTON, alias SIBERSTON, is a manor in the north-east part of this parish, which made likewise part of the barony of Fobert before-mentioned, of which it was held by knight's service. John de Herste held this manor in the 2d year of king John, and in the 20th year of king Edward III. the heirs of another John de Herst held it by the description of lands in Siberston, of the barony of Chilham, by the like service, and the payment of ward to Dover castle; not long after which it appears to have been in the possession of a family who took their surname from it, one of whom, Richard de Siberston, as appeared by an old dateless deed of that time, demised it to John Monins, in whose descendants it continued down to Edward Monins, esq. of Waldershare, whose lands were disgavelled by the act of the 2d and 3d Edward VI. He died possessed of it in the 6th year of that reign, and by his will gave this manor of Seberston, to his second son George Monins, and he sold it to Thomas Pepper, jurat of Dover, who dying in the 17th year of queen Elizabeth, gave it to Thomas, son of Richard Pepper, and he in king James I.'s reign alienated it to Moulton, of Redriff, in whose descendants it remained at the time of the restoration of king Charles II. 1660, after which it was alienated, after some intermediate owners, to Mr. Phineas Stringer, of Dover, whose son, of the same name, is the present possessor of it.
But this manor, by unity of possessionhas for some year since been so blended with that of Hougham, otherwise called the Elmes, above described, that it is now accounted one and the same manor.
THE TITHES of the manor of Siberston, lying in Elms bottom, in this parish, were part of the possessions of the priory of St. Martin, in Dover, and continued so till the dissolution of it in the 27th year of Henry VIII. when this portion of tithes, among the rest of the possessions of the priory, came into the king's hands, who granted it with the scite and other possessions of the priory, in his 29th year, to the archbishop in exchange, in manner as has been already frequently mentioned before, in which state it has continued ever since, his grace the archbishop being at this time entitled to the inheritance of it. John Monins, esq. of Canterbury, is the present lessee of it.
FARTHINGLOE, alias VENSON DANE, is another manor in this parish, which was antiently part of the possessions of the canons of St. Martin, under the general title of whose possessions it is thus entered in the survey of Domesday:
In Beusberg hundred. In Ferlingelai, William the son of Ganfrid holds one suling, and there he has in demesne one carucate, and four villeins, with one carucate. It is worth four pounds. In the time of king Edward the Confessor, six pounds. Sired held it as a prebend.
And immediately following, under the title of the same possessions:
In Hicham, Balduin holds one suling, and there he has four villeins, and five borderers, with two carucates. It is worth four pounds. In the time of king Edward the Confessor, one hundred shillings. Eduuin holds it.
As the canons of St. Martin's priory had other possessions in this parish, besides the manor of Farthingloe, the latter entry no doubt contains the description of them, and includes their estate here, called Venson Dane, alias Wellclose, mentioned below, which together with the manor of Farthingloe, remained parcel of the possessions of the above priory, till the final suppression of it in the 27th year of king Henry VIII. when they both came into the king's hands, who granted them in his 29th year to the archbishop in exchange, as has been already more particularly mentioned before; since which this manor of Farthingloe, with the estate of Venson Dane, alias Wellclose, has remained parcel of the possessions of the see of Canterbury, his grace the archbishop being at this time entitled to the inheritance of them. The interest of the present lease is vested in the widow of Mr. Nath. Walker, deceased, and Mr. John Marsh (the present occupier); the former possessing the lands, and the latter the great tithes, for their respective shares.
This estate is exempted from the payment of the great or corn tithes. There is not any court held for this manor.
The manor of Farthingloe was held of the prior and canons in king Henry III.'s time, by a family, who from their residence at it, took their surname from it. One of them, Matilda de Farthingloe, is mentioned by Prynne, anno 44 Henry III.
MAXTON, or Maxton court, is another manor situated in this parish, at no great distance from Farthingloe, which in king Henry III.'s reign, as appears by the book of knights fees kept in the king's remembrancer's office, was in the possession of Stephen Manekyn, who held it by knight's service of the barony of Fobert, and together with other lands elsewhere made up that barony, and were given for the desence of Dover castle. After this it seems to have been divided into moieties, and to have been held by Richard Walsham, and Alice, daughter of Stephen Manekin, who alienated the whole of it to William, son of Nicholas Archer, of Dover, whose seal was, A stag's head, caboshed, as appears by a deed in the Surrenden library, dated anno 17 Edward III. His son William Archer, in the 21st year of the next reign of king Richard II. passed it away by sale to John Alkham, of Alkham, a family of good estate in this neighbourhood, in the descendants of which this manor remained for some time; but at the latter end of king Edward IV. it was become the property of Roger Appleton, from whom it passed to Hobday, and thence to Harman, of Crayford, from which name it was sold by Thomas Harman to Sir James Hales, who at or about the middle of queen Elizabeth's reign alienated it to Andrews, of Dover, who some few years afterwards sold it to Pepper, and he in king James I.'s reign conveyed it to Sir Thomas Wilford, of IIden, who in king Charles I.'s reign passed it away to Mr. William Richards, of Dover, whose descendant of the same name, devised it to his nephew John Sladden, of Dover, merchant, as he did to his sister Mary, who carried it in marriage to Mr. Thomas Fagge, of Dover, whose trustees, after his death, to perform the uses of her will, sold it in 1783 to Tho. Biggs, esq. of Dover, the present owner of it, who has much improved the mansion of this manor, by making several additional buildings to it. A court baron is held for this manor.
Charities.
THOMAS PEPPER, jurat of Dover, by his will in 1574, de vised to the poor within the parishes of our Lady of Dover and Hougham, one annuity of 40s to be distributed equally between them, issuing out of his manor of Syberstone, and the lands belonging to it, with power to distrain, &c. now vested in Phineas Stringer, esq. and the money is distributed to such as do not receive weekly allowance of the parish.
There is a house divided into two small dwellings, inhabited by two persons placed there by the churchwardens and overseers of the poor; but how it came to the parish is not known.
The poor constantly maintained are about twenty-five, casually fifteen.
HOUGHAM is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Dover.
The church, which is dedicated to St. Laurence, is an ancient building, but small, consisting of two small isles and a chancel, having neither tower nor steeple, but it has a place for three small bells. In the chancel lie buried several of the families of Hougham and Malmaines; the brasses of whose stones have been long since torn off, though the lines of their portraitures still remain. In the chancel is a monument for Wm. Fyneux, esq. son of Robert. He died in 1587; arms, Vert, a chevron, between three eagles displayed, or, crowned, gules, impaling Warren, azure, a cross, or; in the first and fourth quarters, a martlet; in the second and third, a chaplet of the second. Another for Peter Nepeau, gent. who lies buried in a vault underneath; he built and resided at the Elmes, in this parish, still continuing the trade of a merchant; he died in 1658. William, his only surviving son, married Sarah, daughter of Mr. Bulteel, of Tournay, in Flanders, who was also buried in this chancel. His youngest son William succeeded to the Elmes, which he sold, and settled at Twickenham; he died in 1710; arms, Azure, a fleece, or. Another for Robert Breton, esq he died in 1707; arms, Azure, a bend between six mullets, pierced, or. And for William Hannington, esq. who married a daughter of William Monings, lieutenant-governor of Dover-castle; he died in 1607.
¶This church was part of the possessions of the priory of St. Martin, to which it was appropriated by archbishop Stratford, in 1345, and a vicarage endowed in it, (fn. 7) both which were at the suppression, in the 27th year of king Henry VIII. granted with the scite of the priory and other possessions of it in the exchange to the archbishop, with a reservation of the antient pension from the prior of forty shillings to the vicar, in manner as has been frequently more particularly mentioned before. In which state they now continue, his grace the archbishop being possessed of the appropriation of this church, with the advowson of the vicarage of it. The parsonage is called Little Hougham court, which with the tithes are held under the archbishop by Mr. Thomas Walker, of Dover. The glebe land is ninety acres.
In 1588 here were one hundred and twenty communicants, and it was valued at forty pounds per annum. This vicarage is valued in the king's books at 6l. 13s. 4d. Archbishop Juxon, anno 14 Charles II. augmented this vicarage with twenty-five pounds, to be paid by the lessee of the great tithes, which was again confirmed anno 22 of that reign. The vicar still receives the antient pension of forty shillings from the archbishop. It is now a discharged living of about the clear yearly value of forty-six pounds.
Italian postcard by Edizioni Beatrice D'Este, no. 20 162. Photo: Steve Schapiro. Robert De Niro in Taxi Driver (Martin Scorsese, 1976).
Legendary American actor Robert De Niro (1943) has starred in such classic films as Taxi Driver (1976), Novecento/1900 (1978), The Deer Hunter (1978), Awakenings (1990) and GoodFellas (1990). His role in The Godfather: Part II (1974) brought him his first Academy Award, and he scored his second Oscar for his portrayal of Jake La Motta in Raging Bull (1980). De Niro worked with many acclaimed film directors, including Brian DePalma, Francis Coppola, Elia Kazan, Bernardo Bertolucci and, most importantly, Martin Scorsese. He also appeared in French, British and Italian films.
Robert Anthony De Niro was born in the Greenwich Village area of Manhattan, New York City in 1943. His mother, Virginia Admiral, was a cerebral and gifted painter, and his father, Robert De Niro Sr., was a painter, sculptor and poet whose work received high critical acclaim. They split ways in 1945 when young Robert was only 2 years old after his father announced that he was gay. De Niro was raised primarily by his mother, who took on work as a typesetter and printer in order to support her son. A bright and energetic child, Robert De Niro was incredibly fond of attending films with his father when they spent time together. De Niro's mother worked part-time as a typist and copyeditor for Maria Picator's Dramatic Workshop, and as part of her compensation, De Niro was allowed to take children's acting classes for free. At the age of 10, De Niro made his stage debut as the Cowardly Lion in a school production of The Wizard of Oz. De Niro proved to be uninterested in school altogether and, as a teenager, joined a rather tame street gang in Little Italy that gave him the nickname Bobby Milk, in reference to his pale complexion. While De Niro was by all accounts only a very modest troublemaker, the gang provided him with experience to skilfully portray Italian mobsters as an actor. He left school at age 16 to study acting at Stella Adler Conservatory. Adler, who had taught Marlon Brando and Rod Steiger, was a strong proponent of the Stanislavski method of acting, involving deep psychological character investigation. He studied briefly with Lee Strasberg at the Actor's Studio in New York City and then began auditioning. After a momentary cameo in the French film Trois chambres à Manhattan/Three Rooms in Manhattan (Marcel Carné, 1965), De Niro's real film debut came in Greetings (Brian De Palma, 1968). However, De Niro's first film role already came at the age of 20, when he appeared credited as Robert Denero in De Palma’s The Wedding Party (Brian De Palma, Wilford Leach, 1963), but the film was not released until 1969. He then appeared in Roger Corman's film Bloody Mama (1970), featuring Shelley Winters. His breakthrough performances came a few years later in two highly acclaimed films: the sports drama Bang the Drum Slowly (John D. Hancock, 1973), in which he played a terminally ill catcher on a baseball team, and the crime film Mean Streets (1973), his first of many collaborations with director Martin Scorsese, in which he played street thug Johnny Boy opposite Harvey Keitel.
Robert De Niro and Martin Scorsese worked successfully together on eight films: Mean Streets (1973), Taxi Driver (1976), New York, New York (1977), Raging Bull (1980), The King of Comedy (1983), Goodfellas (1990), Cape Fear (1991), and Casino (1995). In 1974, De Niro established himself as one of America’s finest actors with his Academy Award-winning portrayal of the young Vito Corleone in The Godfather: Part II (Francis Ford Coppola, 1974), a role for which he learned to speak Sicilian. Two years later, De Niro delivered perhaps the most chilling performance of his career, playing vengeful cabbie Travis Bickle in Taxi Driver (Martin Scorsese, 1976) alongside Jodie Foster. His iconic performance as Travis Bickle catapulted him to stardom and forever linked his name with Bickle's famous "You talkin' to me?" monologue, which De Niro largely improvised. In Italy, De Niro appeared opposite Gérard Dépardieu in the epic historical drama Novecento/1900 (Bernardo Bertolucci, 1976). The film is an exploration of life in Italy in the first half of the 20th century, seen through the eyes of two Italian childhood friends on opposite sides of society's hierarchy. He also starred in The Last Tycoon (1976), the last film directed by Elia Kazan. The Hollywood drama is based upon Harold Pinter's screenplay adaptation of F. Scott Fitzgerald's The Last Tycoon, De Niro continued to show his tremendous skill as a dramatic actor in the Vietnam war drama The Deer Hunter (Michael Cimino, 1978). The film follows a group of friends haunted by their Vietnam experiences. De Niro later portrayed middleweight boxer Jake LaMotta in the commercially unsuccessful but critically adored film Raging Bull (Martin Scorsese, 1980). The previously skinny De Niro had put on 60 pounds of muscle for his riveting turn as LaMotta and was rewarded for his dedication with the 1981 Academy Award for Best Actor.
In the 1980s, Robert De Niro's first roles were as a worldly ambitious Catholic priest in True Confessions (Ulu Grosbard, 1981), an aspiring stand-up comedian in Scorsese's The King of Comedy (Martin Scorsese, 1983) and as Jewish mobster in the sprawling historical epic Once Upon a Time in America (Sergio Leone, 1984). Other notable projects included the Sci-Fi art film Brazil (Terry Gilliam, 1985) and the British drama The Mission (Roland Joffé, 1986), about the experiences of a Jesuit missionary in 18th century South America, which won the Golden Palm at the Cannes Film Festival. It was followed by fare like the crime drama The Untouchables (Brian De Palma, 1987), in which De Niro portrayed gangster Al Capone opposite Kevin Costner as Eliot Ness, the mysterious thriller Angel Heart (Alan Parker, 1987) and the action comedy Midnight Run (Martin Brest, 1988). De Niro opened the 1990s with Goodfellas (Martin Scorsese, 1990), yet another acclaimed gangster film from Scorsese that saw the actor teaming up with Ray Liotta and Joe Pesci. De Niro next starred in a project that earned him another Oscar nomination, portraying a catatonic patient brought back to awareness in Awakenings (Penny Marshall, 1990), co-starring Robin Williams as a character based on physician Oliver Sacks. Dramas continued to be the genre of choice for De Niro, as he played a blacklisted director in Guilty by Suspicion (Irwin Winkler, 1991) and a fire chief in Backdraft (Ron Howard, 1991). Soon afterwards, the actor was once again front and centre and reunited with Scorsese in a terrifying way, bulking up to become a tattooed rapist who stalks a family in Cape Fear (Martin Scorsese, 1991). The film was a remake of the 1962 thriller starring Gregory Peck and Robert Mitchum. Peck and Mitchum made appearances in the remake as well. De Niro received his sixth Academy Award nomination for Fear, with the film becoming the highest-grossing collaboration between the actor and Scorsese, earning more than $182 million worldwide. After somewhat edgy, comedic outings like Night and the City (1992) and Mad Dog and Glory (1993), another drama followed in the form of This Boy's Life (Michael Caton-Jones, 1993), in which De Niro portrayed the abusive stepfather of a young Leonardo DiCaprio. That same year, De Niro made his directorial debut with A Bronx Tale (Robert De Niro, 1993), a film adaptation of a one-man play written and performed by Chazz Palminteri. In 1994, De Niro was practically unrecognizable as the monster in actor/director Kenneth Branagh's adaptation of the Mary Shelley novel Frankenstein (Kenneth Branagh, 1994). It was followed by another Scorsese telling of mob life, this time in Las Vegas. De Niro portrayed a character based on real-life figure Frank ‘Lefty’ Rosenthal in Casino (Martin Scorsese, 1995), co-starring Sharon Stone and Joe Pesci. In Heat (Michael Mann, 1995), De Niro re-teamed with fellow Godfather star Al Pacino in a well-received outing about a bank robber contemplating getting out of the business and the police detective aiming to bring him down.
For the rest of the 1990s and into the new millennium, Robert De Niro was featured yearly in a big-screen project as either a lead or supporting figure. His films include the legal crime drama Sleepers (Barry Levinson, 1996), the black comedy Wag the Dog (Barry Levinson, 1997), the crime drama Cop Land (James Mangold, 1997), the crime thriller Jackie Brown (Quentin Tarantino, 1997), the spy action-thriller Ronin (John Frankenheimer, 1998) and the crime comedy-drama Flawless (Joel Schumacher, 1999). At the turn of the century, De Niro struck out into decidedly different territory with Analyze This (Harold Ramis, 1999), a hilarious and highly popular spoof of the mob movies that had garnered him fame. Analyze This earned more than $100 million domestically, with De Niro playing a Mafioso who seeks help from a psychiatrist (Billy Crystal). De Niro took on another comedy, Meet the Parents (Jay Roach, 2000), as Ben Stiller's future father-in-law. The smash hit spawned two sequels: Meet the Fockers (Jay Roach, 2004) and Little Fockers (Paul Weitz, 2011), both of which were also box-office successes. De Niro continued to switch between comedic and serious roles over the next few years, reuniting with Billy Crystal for Analyze That (Harold Ramis, 2002), and starring in the spy thriller The Good Shepherd (Robert De Niro, 2006) with Matt Damon and Angelina Jolie. The following year De Niro was featured as a secretive cross-dressing pirate with a heart of gold in the fantasy flick Stardust (Matthew Vaughn, 2007), while 2009 saw a return to dramatic fare with Everybody's Fine (Kirk Jones, 2009). In Italy, De Niro starred in the romantic comedy Manuale d'amore 3/The Ages of Love (Giovanni Veronesi, 2011). De Niro earned yet another Academy Award nomination for his turn in David O. Russell's Silver Linings Playbook (2012), playing the father of a mentally troubled son (Bradley Cooper). De Niro teamed up again with Silver Linings Playbook director Russell and stars Cooper and Jennifer Lawrence for the biopic Joy (David O. Russell, 2015), based on the life of Miracle Mop inventor Joy Mangano. Later that year, De Niro starred as a widower who returns to the workforce in The Intern (Nancy Meyers, 2015), with Anne Hathaway. In 2016, he starred in another biopic, Hands of Stone (Jonathan Jakubowicz, 2016), playing Ray Arcel, the trainer of Panamanian boxer Roberto Durán. That same year De Niro received the Presidential Medal of Freedom from President Obama for his contribution to the arts. De Niro, who has long resided in New York City, has been investing in Manhattan's Tribeca neighbourhood since 1989. His capital ventures there included co-founding the film studio TriBeCa Productions in 1998 and the Tribeca Film Festival (since 2002). De Niro married actress Diahnne Abbott in 1976. The couple had one son, Raphael, before divorcing 12 years later, in 1988. De Niro then had a long relationship with model Toukie Smith who produced twin sons, Aaron Kendrick and Julian Henry, in 1995. Then in 1997, De Niro married Grace Hightower, with whom he has two children.
Sources: Biography.com, Wikipedia, and IMDb.
Amid the brightly coloured non-figurative windows on the southern side of Saint George's Presbyterian Church stands one figurative window. Created by Melbourne stained glass manufacturer Brooks Robinson and Company, the Samuel Lyons McKenzie memorial stained glass window is a fine late example of post-war Art Deco design, still being used commonly in Australia in the period immediately following the Second World War. Installed in 1949 to honour the memory of the congregation’s beloved minister who served from 1930 to 1948, the window is the only one in the church not made by Melbourne manufacturer Ferguson and Urie. Replacing one of the non-figurative stained glass windows by Ferguson and Urie, when this window was made the Victorian powerhouse of stained glass manufacturing had gone out of business. Several businesses filled the gap they left, including Brooks Robinson and Company.
The window depicts a more modern, multicultural, Twentieth Century interpretation of Jesus with the children. Jesus with the children comes from the Book of Matthew, where Jesus said, "Let the little children come to me, and do not hinder them, for the Kingdom of Heaven belongs to such as these." One window depicts Jesus with a young child sitting upon each of his knees, whilst a dark skinned islander child with flowers in their hair sitting at Jesus' feet. On the other window, other children, some in nationalistic costumes, gather to hear Jesus preach including one of Arabic descent, another of Chinese ancestry and two European children. The latter two wear contemporary costumes of children in 1940s Australia. The top round ventilator window emulates the Ferguson and Urie depiction of the Burning Bush; perhaps paying homage to what came before this new window.
The former Saint George's Presbyterian Church, which stands on busy Chapel Street in St Kilda East, is a well known and loved local landmark, not least of all because of its strikingly tall (33.5 metre or 110 foot) banded bell tower which can be spotted from far away. In the Nineteenth Century when it was built, it would have been even more striking for its great height and domineering presence. Designed by architect Albert Purchas, the former Saint George's Presbyterian Church is often referred to as his ecclesiastical tour-de-force, and it is most certainly one of his most dramatic and memorable churches.
The former Saint George's Presbyterian Church was constructed on a plot of land reserved in Chapel Street for the Presbyterian Church of Victoria in 1866. Initially services were held in a small hall whilst fundraising efforts advanced the erection of a church. The architect Albert Purchas was commissioned to design the church and the foundation stone for the western portion of the nave was finally laid in April 1877 by Sir James McCulloch. The first service was held in the church on the 1st of October 1877. The first clergyman of the former Saint George's Presbyterian Church was the Reverend John Laurence Rentoul (father to world renown and much loved Australian children's book illustrator Ida Rentoul Outhwaite). However, the swelling Presbyterian congregation of St Kilda and its surrounding districts quickly outgrew the initial Saint George's Presbyterian Church building, so Albert Purchas was obliged to re-design and enlarge the church to allow a doubling in capacity. Robert S. Ekins was the contractor and his tender was £3000.00. It is this imposing church building, reopened in 1880, that we see today. The "Australasian Sketcher with Pen and Pencil" noted that the total length of the building was 118 feet and 6 inches (36 metres), by 40 foot (12 metres) wide and that the striking octagonal tower to the north-west was 110ft 6 in high. It perhaps reflected better the wealth and aspirations of the congregation.
The former Saint George's Presbyterian Church is constructed on bluestone foundations and is built in an ornate polychromatic Gothic Revival style in the tradition of English designers like William Butterfield and John L. Pearson. Built of red brick building, it is decorated in contrasting cream bricks and Waurn Ponds freestone dressings. It features a slate roof with prominent roof vents, iron ridge cresting and fleche at the intersection of the nave and transepts. The front facade of the church is dominated by the slender, banded octagonal tower topped by a narrow spire. The entrance features a double arched portal portico. The facade also features a dominant triangular epitrochoidal (curved triangular form) rose window. The church, like its bluestone neighbour All Saints Church of England, is built to a T-shaped plan, with an aisleless nave, broad transepts and internal walls of cream brick, relieved with coloured brickwork. The former Saint George's Presbyterian Church was one of the first major church design in Melbourne in which polychrome brickwork was lavishly employed both externally and internally.
The inside of the former Saint George's Presbyterian Church is equally as grand as the exterior, with ornamental Gothic Revival polychromatic brickwork, a lofty vaulted ceiling, deal and kauri pine joinery and pulpit and reredos of Keene's cement. The building originally contained a complete set of Victorian stained glass windows by well known and successful Melbourne manufacturers Ferguson and Urie, all of which remain intact today except for one of the non-figurative windows which was replaced by a memorial window to Samuel Lyons McKenzie, the congregation’s beloved minister, who served from 1930 to 1948, in 1949. The earliest of the Ferguson and Urie windows are non-figurative windows which feature the distinctive diaper pattern and floral motifs of Fergus and Urie's work, and are often argued to be amongst the finest of their non-figurative designs. The large triple window in the chancel was presented by Lady McCulloch in memory of the ‘loved and dead’. Another, in memory of John Kane Smyth, the Vice-Consul for the United States of America in Melbourne, has the American Stars and Stripes on the top ventilator above it. An organ by Thomas C. Lewis of London, one of the leading 19th century English organ builders, was installed in the south transept in 1882. It was designed to blend with its architectural setting, with pipework styled to avoid the obstruction of windows. The action of this organ was altered in 1935, but the pipework, and the original sound, have been retained.
Over the years many spiritual and social activities were instituted at Saint George’s, Presbyterian Church some of short duration such as the Ladies’ Reading Club which operated between 1888 and 1893. There were segregated Bible classes for young men and women, the Presbyterian Women’s Missionary Union, formed in 1892, a cricket club and a floral guild. Guilds teaching physical culture for girls, boys and young men began in 1904. They were entirely financed by John Maclellan and the idea extended to other denominations throughout Victoria. John Maclellan died in 1936 and the guilds ceased at Saint George’s Presbyterian church through lack of funds although in 1977 the members of the girls’ guild were still holding bi-annual reunions and raising money for charity. Sadly, the Presbyterian congregations may have been large in the Nineteenth Century, but by St George's Presbyterian Church's 110th centenary, its doors had already closed during the week due to dwindling numbers and an ageing congregation as a result of the general decline in church attendances after the Second World War exacerbated by the changing nature of St Kilda and the decrease in numbers of residents living in the vicinity of the church. So it stood, forlorn and empty and seemingly nothing more than a relic of a glorious but bygone religious past. However in 1990, Saint Michael's Grammar School across the road leased the Victorian Heritage listed building during weekdays, and it was eventually sold to them in 2015. It now forms part of the school's performing-arts complex, and it has a wonderful new lease of life.
St George's Presbyterian Church is sometimes hired out for performances, and I had the pleasure of receiving an invitation to hear Handel's Messiah performed there in 2009. The ecclesiastical acoustics made the performance all the more magnificent. I remember as I sat on one of the original (hard) kauri pine pews, I looked around me and admired the stained glass and ornamental brickwork. I tried without success over several subsequent years to gain access to the church's interior, settling for photographs of the exterior instead, but it wasn't until 2018 that I was fortunate enough to gain entry to photograph the church's interior. The former St George's Presbyterian Church was opened up to the public for one Sunday morning only as part of Open House Melbourne in July 2018. It was a fantastic morning, and I am very grateful to the staff who manned the church for the day and watched bemused as I photographed the stained glass extensively and in such detail.
Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was Saint. George's Presbyterian Church in St Kilda East between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and Saint, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.