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Relief and inscribed column fragments from the chapel of Mentuhotep II in the Hathor sanctuary.
11th dynasty, from Gebelein
S.12036, S.12098, S.12167 and S.12280/02
Museo Egizio, Torino
Window in the north aisle at Quinton containing a patchwork of fragments from the original fourteenth century glazing of the church, mostly consisting of elements from borders, canopies and other such architectural features.
Of all the churches I planned to see on this excursion this was the one that I was the most excited about, not only is Blythburgh one of Suffolk's finest but among the best and grandest parish churches in the country, all the more surprising in this rural location. I'd known about it for decades, so it was most satisfying to finally get to see it for myself.
Holy Trinity at Blythburgh dates mostly from the 15th century, a grand essay in the Perpendicular Gothic style. The first impression is of flint walls punctuated by a mass of windows, especially in the clerestorey above, along with the building's great size and length. The is much ornamental carving around the windows and parapet, most strikingly the carved figures that stand in place of pinnacles. The tower by contrast appears rather plain, a stern sentinel watching over the building; this is in part due to storm damage in 1577 which brought down the steeple and is likely when the belfry windows lost their tracery and received their current boarded-over appearance. The south porch below makes a grand statement and beckons us to enter, noting the unusual survival of a water-stoup.
Inside a vast space is revealed, well lit by mostly clear-glazed windows and and filled with ancient woodwork. Not only is this church beautiful it is also delightfully authentic, having undergone little restoration over the centuries (it must have been a heavy burden for such a small community) and thus is a place of real ageless atmosphere, most of the furnishings are pre-Victorian and the only coloured glass is the collection of medieval fragments in the traceries of a few windows.
The most impressive feature is the roof, retaining much of its original painted decoration and angel figures down the centre, also retaining much colour. This feature was familiar to me from so many photos in books, but in finally seeing it with my own eyes it lost none of its impact. It extends almost the full length of the building as there is little structural division between nave and chancel.
After absorbing the beauties above attention should go to the riot of medieval carving at ground level, where all the nave pews retain their 15th century bench-ends with figurative carvings, some with subjects from the Acts of Mercy and Seven Deadly Sins, not all in great condition but a remarkable survival nonetheless. In the chancel the stall fronts bear surprisingly well preserved rows of carved canopied apostles, not necessarily in situ as much of the woodwork looks reconstructed but the figures themselves appear to be rare medieval survivals.
This is a church to spend some time in and soak up its special atmosphere. Being on a bit of a mission that day I didn't have time to sit peacefully as one should, but it was the longest stop on my itinerary, and one of the most rewarding, I'd happily return.
This is one of the 'must see' churches of Suffolk and is always open and welcoming by day accordingly. For the third time that day I met a couple doing a similar excursion to me and we briefly chatted about what a joy it is to visit, I urge others to do likewise.
Holy Cross church, Caston, Norfolk
A collection of fragments of medieval English and continental glass reset in a modern roundel after being blown out by a bomb in WWII. Best viewed large - spot an Adoration of the Magi, the head of the Blessed Virgin and the inscription from an Annunciation.
The fragments of the glass front door of the East Washington Ave Jimmy Johns in Madison, WI, after a driver lost control of his car and hit the garbage can which shattered the glass door. Apparently his brakes went out.
I am praying again, Awesome One.
You hear me again, as words
from the depths of me
rush toward you in the wind.
I've been scattered in pieces,
torn by conflict,
mocked by laughter,
washed down in drink.
In alleyways I sweep myself up
out of garbage and broken glass.
With my half-mouth I stammer you,
who are eternal in your symmetry.
I lift to you my half-hands
in wordless beseeching, that I may find again
the eyes with which I once beheld you.
I am a house gutted by fire
where only the guilty sometimes sleep
before the punishment that devours them
hounds them out into the open.
I am a city by the sea
sinking into a toxic tide.
I am strange to myself, as though someone unknown
had poisoned my mother as she carried me.
It's here in all the pieces of my shame
that now I find myself again.
I yearn to belong to something, to be contained
in an all-embracing mind that sees me
as a single thing.
I yearn to be held
in the great hands of your heart –
oh let them take me now.
Into them I place these fragments, my life,
and you, God – spend them however you want.
~ Rainer Maria Rilke: The Book of Hours ~
Fragments of 15th century stained glass, all that remains of the church's pre-Reformation glazing, gathered into a south clerestorey window in the chancel.
The most northerly church in Leicestershire is also one of its very best, St Mary's at Bottesford is a grand enough structure in its own right, a fine building of mainly 14th/15th century date with a soaring spire, but a chancel full of monuments to the Roos and Manners families (the successive Earls of Rutland) make it unmissable, like Westminster Abbey in miniature.
Despite Leicestershire's notoriety for locked churches this one is happily normally open daily from 9am-5pm.