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St Mary and St Peter, Barham, Suffolk
The large, combined village of Barham and Claydon sits to the north of Ipswich, as near to being a suburb as can be without actually joining on. It has two hilltop churches, half a mile apart at each end of the village, above the high street. St Peter, Claydon, the more southerly of the two, sits by bungalows, new housing and Claydon High School. But it was declared redundant in the 1970s, and Barham church, out on the western edge on the way to Hemingstone, serves the whole community alone. Its dedication of St Mary has been extended to include that of Claydon church.
The hilltop setting here is quite different to that of the church that formerly served the Claydon part of the parish. Here, the church is above the houses, above the village, in a vast open graveyard, one of the biggest in Suffolk. You climb the narrow lane up the hill, and then cross from the corner of the graveyard to the big church. There is a comfortable bulkiness to the church, the massive south tower forming a porch as many do in the Ipswich area. The southern face of it has been generously decorated with flushwork, the first indication of the thorough yet restrained 1860s restoration by Edward Hakewill. Curiously, the nave has a clerestory on the south side, but no aisle. The view from the west is singular, the tower/porch balanced across the stark western face of the nave by the modern meeting room on the highest point to the north. The early 16th Century terracotta window on the north side of the vestry was probably made at the same time as those of the original Shrublands Hall - there is another one in the church at Henley nearby. The reason for its location will be revealed inside.
At one time, Barham church was kept locked, and there was a very good reason for this, as we shall see. But CCTV has been installed, and since the end of July 2019 the church has been open every day. You step beneath the tower down into a richly coloured interior. Hakewill's restoration has been softened by the feel of the ritualism of the early part of the 20th century. The western end of the nave is raised and carpeted to form a baptistry, the font a 19th Century reimagining of the kind of wide fonts of the early 14th Century that you more commonly find outside of East Anglia, in areas where no 15th century wealth could provide a replacement.
As mentioned earlier, there is no south aisle, but the Middleton chapel forms a raised aisle on the north side of the church. The aisle was built by the custodians of Shrublands Hall, and what is now the vestry at the eastern end of the aisle was their chantry chapel, hence the placing of the terracotta window. The western end of the aisle has been enclosed by part of the 15th Century roodscreen, and between the two sits one of the most striking objects in any Suffolk church. This is the Claydon war memorial, a sculpture of the Madonna and Child, by Henry Moore. It was moved here under Moore's direction when Claydon church closed and the two parishes combined. It must have been quite something, getting it in and out the churches, up and down the hills. Mary sits patiently, quietly, her arms relaxed but encircling her son protectively, pondering things in her heart.
The chancel was largely rebuilt in the 19th century, and obviously designed for shadowy, ritualist worship. However, it still contains a tall mid-17th Century memorial with the recumbent figures of John and Margaret Southwell. If moving Henry Moore's work from one end of the village to the other in the 1970s seems an extraordinary feat, then consider the inscription on the Southwell monument, which reveals that this memorial is sente over from the cittie of Limrick Ireland by Sir Richard Southwell K second sonne of John Southwell of Barham Esq and Margrett his wife as a pious remembrance of them to be left to their posteri(tie) An Do 1640. She raises herself on one elbow, looking into the face of her husband who stares heavenward, holding a small skull in the left hand.
Enclosing the sanctuary, the communion rails are striking and memorable. They are richly carved with angels, sea creatures, flowers and fruit, and one panel is dated 1700. Mortlock thought they were probably Italian. Do they perhaps show another connection with Shrublands Hall? The glass is largely by Ward & Hughes for Hakewill's restoration, and if it is not exciting it contributes to a harmonious whole. The exception is a rather good window set high in the clerestory. The vinework suggests it is by Powell & Sons. It depicts Christ with his hand on the head of a small child, and remembers Henry Pye Phillips who died at the age of ten in 1895. Oddly, the glass is not glazed into the clerestory as you might expect, but set in front if it.
Barham church provides a stark contrast with the church at Claydon, now in the care of the Churches Conservation Trust, looked after but no longer home to a community. And half a mile to the south of Claydon church is a third church, St Mary Akenham, also now redundant and in the care of the Churches Conservation Trust. In contrast with its neighbours Akenham is a lost and lonely place, half a mile from the nearest road with only an abandoned farmhouse and a couple of cottages for company. As the survivor of the three, Barham church now serves a community of not far short of 4,000 people, and it is obvious to any visitor that is well-used and well-loved, a happy eventuality.
My attic/bedroom is a Man-Den and i have been sorting out display shelves etc for my die cast models.
you can't remember who i once was, all you can recall is who i am now.
it's been a rough past 3 days... it hasn't been like this in a while. i can't even figure out what to do to make myself happy. a few weeks ago a girl told me she felt as if she had a connection with me. it turns out it's a girl who lives in my neighborhood. it feels good to talk to her sometimes because she knows exactly what's going on. but sometimes it's best to talk to someone with no idea whatsoever. i hate talking about feelings.
listen. makes me want to cry.
[june 29, 2010]
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Im Miniaturmühlenmuseum Gieselwerder. Früher gab es dort nur Wassermühlen, die alle richtig mit Wasser angetrieben werden. Heute sind viele historische Bauwerke nachgebaut.
Musikalische Leitung Kent Nagano
Inszenierung Andreas Kriegenburg
Bühne Harald B. Thor
Kostüme Andrea Schraad
Licht Stefan Bolliger
Choreographie Zenta Haerter
Dramaturgie Marion Tiedtke - Miron Hakenbeck
Siegmund Klaus Florian Vogt
Hunding Ain Anger
Wotan Thomas J. Mayer
Sieglinde Anja Kampe
Brünnhilde Katarina Dalayman
Fricka Sophie Koch
Helmwige Barbara Morihien
Gerhilde Danielle Halbwachs
Ortlinde Golda Schultz
Waltraute Heike Grötzinger
Siegrune Roswitha C. Müller
Roßweiße Alexandra Petersamer
Grimgerde Okka von der Damerau
Schwertleite Anaïk Morel
Bayerisches Staatsorchester
Foto: Johannes Dietschi © Hochschulkommunikation ZHdK. Freie Verwendung im Rahmen von Ankündigung und Berichterstattung zur Produktion
Die Festung Hohensalzburg ist das Wahrzeichen der Stadt Salzburg.
Vorbei an den Festungsanlagen geht der Blick zum Gaisberg (1287 m) mit dem Sender Gaisberg auf der Spitze. Links im Bild liegt der Kapuzinerberg (636 m), davor sind Teile der Altstadt zu sehen.
Red milan straw hat by Christian Dior, New York, featured in a Gruau drawing found in 'Flair' magazine 1950.
wasnt into lipstick (only love lip gloss) until i found this - changed my entire impression of lipstick.
my recent favorite.
wearing it everyday =)
434 rose interview - great match for asian skin color.
Die Spinne / Heft-Reihe
Originalausgabe: The Amazing Spider-Man #70
(Spider-Man Wanted!)
cover: John Romita
Williams Verlag (Hamburg / Deutschland; 1976)
ex libris MTP
Die Rächer / Heft-Reihe
> Die Rächer / Der Ruf des Psyklop
cover: Sal Buscema
Originalausgabe: The Avengers #88
(The Summons of Psyklop)
> Der Eiserne / Crescendo!
art: Gene Colan, Jack Abel (als Gary Michaels)
Originalausgabe: Tales of Suspense #75
(Iron Man: Crescendo!)
Williams-Verlag (Hamburg / Deutschland; 1978)
ex libris MTP
Die Ansichtskarte zeigt den Leuchtturm von Rossitten am Ufer des Kurischen Haffs.
Ansichtskarte ca. 1920.
Die unbestandenen Abenteuer des verfluchten Klempners
(Les mésaventures inachevées du plombier maudit)
art: Jean Solé
Verlag: Volksverlag (Linden / Deutschland; 1982)
Copyright: Jean Solé / Frankreich 1978
ex libris MTP
The crosswalk lights in the former East Berlin are full of character. The red guy ('steher/stander') and the green guy ('geher'/goer) were captured at the same time through a long exposure on Friedrichstrasse in Berlin-Mitte.
Die Schlümpfe / Album-Reihe
- Das Zauberei und die Schlümpfe
(L'Oeuf et les Schtroumpfs)
Reprints from Spirou (Dupuis, 1947 series) #1147 / Belgien
- Der falsche Schlumpf
(Le Faux Schtroumpf)
Reprints from Spirou (Dupuis, 1947 series) #1211 (29 juin 1961) / Belgien
- Schlumpfige Geschichten
(Histoires de Schtroumpfs)
Reprints from Spirou (Dupuis, 1947 series) #1737, #1750, #1771, #1753 / Belgien
art: Peyo
Copyright: S.E.P.P. und Peyo / Belgien 1979
Carlsen Verlag / Deutschland 1982
ex libris MTP
Grupo Plenilunium
Proyecto: Tamara Morales, Esther Durá y Javier Cabezón
Modelo: Esther Durá
Fotógrafo: Javier Cabezón
Iluminación: Tamara Morales y Javier Cabezón
Die Schaffung eines Verbundnetzes der RAG-Zechenbahnen im mittleren Ruhrgebiet wurde im Mai 1978 mit dem Bau einer neuen Eisenbahnbrücke über den Rhein-Herne-Kanal bei Bottrop abgeschlossen. Die Brücke verbindet den Hafen Bottrop (ex Hafen Hibernia) mit dem noch umzubauenden Hafen und Kohlenlager Coelln-Neuessen (ex Hoesch Bergbau AG).
Aufnahme am 18.4.1981.