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Architectural fragments. Site s40. Village of Hamdamigga (?sp): Very large site consisting of mud-brick mounds, rock-cut features into the natural limestone, scattered basalt blocks and fragments, and visible foundations of rectangular structures, mostly in limestone rubble, existing on both sides of the modern road. Like other sites of this nature, the modern settlement has shifted away from the ancient remains, which are used in part for the location of the modern cemetery. Two (modern) reservoirs exist here. (El Anderin, Syria).
1958
77" x 54" x 37"
Wood Mortise, wood, paint, cloth
Collection: Santa Barbara Museum of Art, Gift of Esther and Robert Robles
Santa Barbara, California
The "Deposition" has been interpreted by Robert Cremean numerous times since its appearance in 1958, including in STUDIO SECTION 2009-2012—Dorothy Laughing.
St Peter and St Paul, Wisbech, Cambridgeshire
The fragments include the martyrdom? of a female Saint.-
A vast urban church in the middle of this lovely little town. Indeed, I believe it is Cambridgeshire's biggest parish church. The tower stands separately to the north, the masons here having learned the lesson of Elm a couple of miles off. You step inside to the south aisle and are presented with two huge naves side by side, each with its own chancel, and north and south aisles beyond these, all separated by three quite different arcades. The chancel to the north nave is vast, bigger on its own than most Cambridgeshire churches. Neither Jenkins nor Pevsner are particularly kind - Jenkins says the church 'lacks focus' (inevitably so!) and Pevsner feels it is 'too varied'. But it is full of interest. It reminded me most of North Walsham in Norfolk, that big, grand interior full of 18th and 19th Century confidence. There is a sprinkling of medieval survivals, including some fascinating glass. Looking west from the north chancel there is the shock of a Norman arcade running within the line of the nave. The chancels are full of grand memorials. I liked it a lot, as you can tell. It is a clumsy, lovely church.
Fragment.in artists Marc Dubois and Laura Perrenoud show their foam hats, which print ideas from Twitter using the hashtags WORK, EAT, LIVE, TALK, and THINK: Themes of the talks, presentations and workshops held at swissnex San Francisco as part of the Grand Opening of Switzerland at Pier 17. PHOTO MYLEEN HOLLERO FOR SWISSNEX SF.
I just came across the Urban Fragment group which has me all exited as it is exactly the sort of photography I like. Anyway, this was the first image that I thought of that would be suitable. Taken at the Epcot theme park (OK, so not exactly 'urban' but definitely a fragment, and Disney was trying to show us different cultural environments from around the world.)
It was the play of light on the wall that caught my attention, and I have another picture of just the light, but I also wanted to show how the light was created, hence this image.
(The other image is www.flickr.com/photos/jasmic/263333688/ here)
Remains of a 15th century statue of a saint holding a richly decorated sword, possibly St Paul. Fragment unearthed in the recent excavations of the lost cathedral site and currently displayed in the Priory Visitor Centre in Coventry.
Coventry is known for losing its cathedral to wartime bombing; what is less well known is the fact that this is the second time this city has lost a cathedral in 400 years. The original St Mary's Cathedral was supressed at the Dissolution, a monastic and Diocesan church in the then Diocese of Coventry & Lichfield; the latter alone remained as the medieval Coventry Cathedral was erased by history.
The cathedral complex was sold to a wealthy businessman who rapidly sold off the materials, leaving the site so heavily plundered that by the 1600s barely even ruins remained.
There were formerly three towers, probably with spires like the sister cathedral at Lichfield. The base of the north west tower was still fairly complete up to at least the 1800s, though much was lost when it was incorporated into the newly built Bluecoat School buildings in 1856. The lancet window and arcading were lost at this time, and the rest remodelled for secular use, leaving only the bottom 3 metres and parts of the two octagonal turrets on the north side (capped by spirelets as a reminder of their former glory).
Much of the nave and monastic buildings to the north were revealed at the start of the century, many of the latter being surprisingly complete, but of the cathedral itself little more than foundations are visible.
Thus the view we see here is the nearest we can get to experiencing the scale of Coventry's lost Cathedral.
Immediately adjacent to the old cathedral were the large cruciform church of Holy Trinity and the even larger St Michael's (which must have formed a remarkably impressive group prior to the 1540s). The latter was elevated to cathedral status in 1916 as one of the 'parish church cathedrals' when the Coventry Diocese was restored, but of course perished in the air raid of 1940, and replaced by Basil Spence's world famous new building now physically joined to it, which itself almost touches what would have been the eastern extremity of St Mary's, therefore three cathedrals (past and present) stand in a single plot in the heart of the city, surely a unique occurence!
Madley's church of the Nativity of the Virgin is one of the grandest, most impressive village churches I've ever seen, it's scale somewhat out of proportion to the size of the community it serves.
The west tower and nave are very early examples of Gothic, dating from the 1200s , whilst the long chancel with it's unusual polygonal apse and crypt, along with the extra aisle to the south of the nave are Decorated additions from the 14th century. The overall scale and length of the building make it seem more like a small cathedral.
The interior space is equally impressive, somewhat cavernous with the eye drawn without distraction to the apse windows. These windows contain the real treasure of this church, it's famous medieval glass. Most of it is a patchwork of fragments, but there are three fine 14th century figures from a former Jesse Tree, along with several much earlier roundels, c1200 and probably belonging to the previous chancel, reused when it was extended a century or more later.
The crypt under apse is now used as a small chapel and is accessed by a staircase at the end of the north aisle. It is an extremely unusual feature to find in a parish church.
Another fragment of unfinished painting.
At the whole painting there is so mach to see, so many details- that undoubtedly it is the most complex painting I've ever tried!
If I've only knew it would be that hard I'd never even started it...
The Chichester Players 2013 production of Fragmented Light by Steve Futcher, directed by Christine Fleming
In Chichester Cathedral
Copyright © 2013 Steve Futcher
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St Michael & All Angels at Ledbury is not only one of Herefordshire's grandest parish churches but also one of its most rewarding. There is much to enjoy in this ancient building from its unusual architectural features to its interesting monuments and top quality glass.
The church is set back from the town's main street and accessed via a narrow cobbled alleyway, the view of its soaring spire beckoning the visitor onward. Upon arriving at the churchyard gates this massive building reveals itself to be full of surprises, most noticeably the tower and spire being detached from the main building and standing a short distance to the north of a beautifully detailed chapel on the north side (formerly dedicated to St Katherine) whose large windows are enriched with ballflower ornament. To the right the mass of the three-gabled west front greets the visitor, centred around the original Norman west doorway with its carved capitals.
Much of the Norman building still remains but aside from the west door the building has been modified and extended in the following centuries to the point that most of the exterior now appears to be of 13th or 14th century date. The detached tower dates back to the 13th century in its lower stages, but the topmost belfry stage and the tapering spire above are an 18th century addition by architect Nathaniel Wilkinson of Worcester. The spire is nonetheless remarkable for its sheer height, and visitors can often ascend the tower to its base during the summer months.
Inside the church initially has a vast, almost barn-like feel owing to the great space and somewhat low level of light, particularly as the eye is drawn towards the chancel which almost disappears into the gloom at first sight. The church is lit by a series of tall windows but the light they admit is more limited by the extensive collection of stained glass (though fortunately most of this is exceptionally good). The chancel is the oldest part, retaining its Norman arcades with intriguing porthole-like oculi above that would have been originally glazed as a clerestorey before the aisles were enlarged. On the north side (almost acting as a transept) is the former chapel with its large Decorated windows that is now separated by a glazed screen and is referred to presently as the chapter house. It contains some old fragments of glass and a fine effigy of a 13th century priest.
Throughout the church there are tombs and monuments of interest (not all well lit so at times the eye needs to adjust to the darkness) from the medieval period to the 19th century. Most of the windows on the south side are filled with rich late Victorian glass by Kempe, whilst in the north side is a more varied display with good examples of Pre Raphaelite, Arts & Crafts and more modern work by Burne Jones, Christopher Whall and John K.Clark respectively, in my opinion the most outstanding windows in the church.
Ledbury church is normally kept open and welcoming for visitors to this popular, tourist-friendly market town. It is well worth a visit, a well above average church!