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St. Peter's Basilica, the Vatican.
This vertorama image was created by blending 22 individual 6016 x 4016 raw images, each taken using a 50mm f/1.8 Nikon lens mounted on a D750 Nikon full frame body. The resulting image was post processed in Lightroom 5. The export shown in this post (4000 x 1529 pixels) is a scaled down version of the merged image (15484 x 5920 pixels). The detail contained within the full size merged image is remarkable, however, as the file size is a whopping 64 MBytes, it is not possible to upload to Flickr to share.
This is my first attempt at creating a vertorama image; hopefully not too bad an example for a first attempt.
Vertorama1-7
St. Peter's Catholic Church dominates the Lower Town of historic Harpers Ferry West Virginia. It was built in 1833 and is on the National Register of Historical Places.
The street along the side of the church building is part of the Appalachian Trail.
TECH NOTES: Taken with my little Canon Powershot SX230 HS Point & Shoot. Initial post processing done in Photoshop 7 ; I used PIXLR, the free, on line editor, to fix the converging lines of the steeple which also stripped out all the EXIF data.
One of the least admired parts of St. Peter's Basilica in Rome, Italy is the greatest accomplishment of Carlo Malderno. Still incredible by my lowly standards, the facade stands almost 150ft tall and 375ft wide, and was built completely of travertine marble between 1608 and 1614.
© LMGFotography 2008; please do not use without permission.
St Peter's Anglican Church
Located in Torrens Square, this church is known for its stained glass windows and is listed on the Heritage Register. The history of the church includes:
1839: Colonel William Light set aside Torrens Square for a church
1852: The first church was built on the site where the Gospel was first proclaimed in the colony
1881: A new church was founded and opened in 1882
1923: The final window was dedicated
2017: The Great West Window was restored
St Peter on the Wall, Bradwell on Sea, Essex
Who dreamed that beauty passes like a dream?
For those red lips, with all their mournful pride,
Mournful that no new wonder may betide,
Troy passed away in one high funeral gleam,
And Usna's children died.
We and the labouring world are passing by:
Amid men's souls, that waver and give place
Like the pale waters in their wintry race,
Under the passing stars, foam of the sky,
Lives on this lonely face.
Bow down, archangels, in your dim abode:
Before you were, or any hearts to beat,
Weary and kind one lingered by His seat;
He made the world to be a grassy road
Before her wandering feet.
William Butler Yeats, The Rose of the World
And from the St Peter on the Wall website:
Our history starts nearly 1400 years ago when Cedd arrived in what we now call Essex.
Key Events and Dates
653 AD The arrival of St Cedd.
654 Cedd founded a Celtic style community at Othona, built his Cathedral of St Peters on the foundations of the Roman fort and was consecrated Bishop of Essex. In fact Cedd's Cathedral was built where the gatehouse of the fort had been - so it was built on the wall of the fort - hence the name - Saint Peter-on-the-Wall.
664 Cedd died of the plague at Lastingham in October. Soon after the death of Cedd, Essex was taken into the Diocese of London and St Peter's became a minster for the surrounding country.
1068 The Chapel became the property of the Benedictine monastery of St Valery on the Somme.
1391 The Chapel was sold to William of Wykeham.
1750 For many years it was used as a barn for the storage of grain and shelter of cattle.
1920 Restored for use as a Chapel.
The Early History
1300 years ago there were people working in Ireland and Scotland to spread the Christian faith. In Ireland, Patrick had established many monasteries and from there Columba had come to Iona, a tiny island off the west coast of Scotland, to establish a monastery and many other Christian centres.
From Columba's monastery, a man called Aidan was sent from Iona at the invitation of King Oswald of Northumbria to set up a monastery at Lindisfarne on the north-east coast. It was also to be a school where Anglo-Saxon boys could be trained to become priests and missionaries. It was in this school that Cedd and his brothers Caelin, Cynebil and Chad learnt to read and write in Latin, and learnt to teach the Christian faith.
The four brothers were all ordained as priests and two of them, Cedd and Chad, later became bishops. Cedd's first mission was to go to the midlands, then called Mercia, at the request of its ruler, King Paeda, who wanted his people to become Christians. Cedd was so successful that when King Sigbert of the East Saxons (Essex) asked for a similar mission, it was Cedd who was sent.
So in 653 Cedd sailed down the east coast of England from Lindisfarne and landed at Bradwell. Here he found the ruins of an old deserted Roman fort. He probably first built a small wooden church but as there was so much stone from the fort he soon realised that would provide a much more permanent building, so he replaced it the next year with the chapel we see today! Cedd modelled his church on the style of churches in Egypt and Syria. The Celtic Christians were greatly influenced by the churches in that part of the world and we know that St Antony of Egypt had built his church from the ruins of a fort on the banks of a river, just as Cedd did on the banks of the River Blackwater in Essex (then known as the River Pant).
Cedd's mission to the East Saxons was so successful that the same year he was recalled to Lindisfarne and made Bishop of the East Saxons. His simple monastery at Bradwell would, like those at Iona and Lindisfarne, have been at the same time a church, a community of both men and women, a hospital, a library, a school, an arts centre, a farm, a guest house and a mission base. From there he established other Christian centres at Mersea, Tilbury, Prittlewell and Upminster.
Cedd often visited his northern childhood home and in 659 was introduced to King Ethelwald who asked him to establish a monastery in Northumbria. Cedd chose a site at Lastingham as it was wild and seemed fit only for wild beast, robbers and demons. Again this was exactly how St Antony of Egypt chose his sites. In 664, while at his monastery in Lastingham, Cedd caught the plague. As he lay dying 30 of his monks from Bradwell came to be with him. They too caught it and one young boy survived and returned to Bradwell.
A Modern History (the Chapel 2007 report)
The world it seems, never ceases to beat a path to the ever-open door of the Chapel. 'Summer and winter, and springtime and harvest', as Thomas Chilsholm's hymn has it, the Pilgrims come. Each with their own story, each with their own gift of thankfulness to bring on their pilgrimage or with their burden of care to lay down here in this Holy Place. Some of them we meet by design - more and more groups want a 'guided' tour with a brief talk about the history and significance of this place. Others we meet by accident - wandering in when we are at the Chapel or encountering them somewhere on the road.
We keep a book at the chapel in which we invite visitors and pilgrims to record their names, when they came, where they came from and a brief comment. On one sample page of thirty-six entries are listed a diversity of places as far apart as Southend, Basildon, Perth West Australia, Danbury, Italy, Pitsea, Middelburg North Carolina, Dorking, Newport Pagnall, Apla Samoa, Cyprus and Venezuela. Their comments range across 'Peaceful', 'Beautiful', 'Wonderful', 'Amazing!', 'Impressive', 'Moving', 'Very Quaint', 'Beautifully Scerene', 'An Oasis of peace and more in a frantic world', 'Exudes the centuries of worship and peace', 'Never fails to amaze', 'What a surprise', 'Big!' 'Impresionante!' 'Holy', 'A proper place to worship.' and 'Yummy!' Few fail to be moved in some way by their visit here.
The Chapel year is underpinned by the Eucharist celebrated there at 08.00 on Wednesday mornings followed most weeks by breakfast at the Othona Community. This regular underpinning sustains many and varied activities: School visits, parish pilgrimages and confirmation groups, students of Architecture and Anglo-Saxon history. Chelmsford Cathedral Choir and the Cathedral 'walkers' make their annual visit to the chapel as do the Pleshey 'walkers' and the Choir from St Mark with St Margaret Plumstead Common.
The year unfolds with our Good Friday Walk of Witness following the Pilgrim Route from St Thomas Bradwell-on-Sea to St Peter's Chapel, walking the Stations of the Cross down the Chapel Track and finishing with a service in the Chapel. We gathered in the thickest mist we had seen all year at 05.30 on Easter Day to kindle the Paschal Fire and to celebrate that 'Christ was Risen Indeed! Alleluia!
The Chapel was the backdrop for the Annual Bradwell Pilgrimage on 7th July 2007 when Cardinal Cormac Murphy-O'Connor encouraged us all with his thoughts about Spiritual Ecumenism. Pilgrims were invited to leave behind a prayer card with their details and prayer concerns. Some 700 responded, some cards contain one name, some as many as 35! and all these people, places and concerns have been remembered throughout the year at our regular Wednesday service.
A wide and exciting variety of Summer Evening Services followed in July and August. The Chapel resounded to many voices of prayer and worship from the stately measured tones of formal Choral Evensong to Christian new wave. A film crew were present at the last Summer Evening Service, gathering material for a forthcoming magazine programme about contemporary life in the British countryside.
Innovations this year included the Parish Animal Service which was attended by 40 people, 10 dogs, 2 horses and a gerbil! The Chapel was the focus for a Deanery Mother's Union Quiet Day in September and continues to be the local Spiritual Home of the Othona Community with whom we work closely.
The 'season' ends with a Eucharist for St Cedd on the evening of the last Sunday in October. The Chapel is flooded with light and expectation at the Parish carol service on the evening of the Sunday before Christmas with once again more than 200 of us braving the elements to join our voices with those of the Angels and hear the Christmas story unfold.
We are all too aware of the depth of need and distress of an increasing number of people who arrive at the Chapel looking for answers to life's problems. Given the limited resources available to us, we are considering what further things might be done to provide information or support for these people.
As ever, tribute must be paid and thanks given to the band of local volunteers from Bradwell Parish and the Othona community for their hard and unsung work of cleaning, grass cutting, flower arranging, ensuring supply of books and publications, preparing for services, welcoming groups and individuals, providing refreshments, answering queries, tracking down lost property - and lost visitors! Thanks also to the Chapel Committee which cares for the fabric and finances of the Chapel.
Revds Margaret and Laurence Whitford, Chaplains, St Peter-on-the-Wall, Bradwell-on-Sea. March 2008
Inside St Peter & St Paul, the Parish Church of Pickering, North Yorkshire. The first church to stand on the current site is believed to have been built in the Anglo-Saxon era.
The Church is dedicated to St. Peter and consists of a tower of four stages, surmounted by a peculiar little spire, a Nave with North and South Aisles and a South Porch; and a Chancel with a North Aisle or Chapel.
From a close examination of the fabric it would appear that the Church passed through the following main changes.
The first Norman Church was built about 1150 and would have a tower of three stages (lower than the existing tower) an aisleless nave and a small Chancel, probably apsidal (i.e. semi-circular at the East end).
Barnburgh would be one of very few places in this district where the original church had a tower, the usual Norman construction was without a tower.
The first enlargement was some fifty years later in the Transitional Norman period, when a North Aisle was added to the Nave. It is invariably found that the first enlargements to our churches were made on the North side. This was done because there would be fewer graves to disturb, it being remembered that the people of those days, steeped as they were in superstition, avoided being buried on the North side where the shadow of the church would fall upon them.
The Chancel built by the Normans would, no doubt, as I have said, be small and as the ritual of the church became more elaborate the need for extension would arise. Furthermore there were two great families in the district at that time (the Cresacres and the Bella Aqua's or Bellews) and instead of founding monasteries as in earlier times, the idea had sprung up among many of these great families to institute Chantries. These usually took the form of little chapels inside the church but screened off, where a priest was maintained to pray for the soul of the founder and his family. Chantry certificates show that two chantries were founded in Barnburgh Church, of which more later.
All appearances therefore suggest that about 1330 the church underwent what was almost a rebuilding, and practically only the bottom two stages of the tower remained of the original church. These alterations would include the addition of the South Aisle and Porch, enlargement of the North Aisle, and the rebuilding of the Chancel with the addition of the North Chapel, and also the top two stages of the tower with the little spire. With the raising of the tower the corner buttresses would be built.
At this period there was a famous church architect, Henry de Eynsham, living at Bolton-upon-Dearne and it is probably he who planned the rebuilding. The greater part of the cost would no doubt be borne by the two ruling families of the neighbourhood, and the arms of the Cresacres were placed on the South side and those of the Bella Aqua's on the East side of the tower at the rebuilding.
As the church was then, it would be rather dark in the Nave somewhat similar to what Hickleton is to this day and so it was that about 1410 the earlier 'Decorated' style windows of the Aisles, with one exception, were replaced by the larger ones of the "perpendicular" style, the roof and walls of the Nave were made higher, and the clerestory windows inserted to give extra light. The original pitch of the roof can still be seen low down in the East wall of the tower.
From that date there has been little alteration to the appearance of the church. There have, of course, been restorations, for instance in 1859 part of the top storey of the tower was taken down and rebuilt, and it will also be noted that the windows of the Chancel, including the great East window, are modern, but are no doubt careful reproductions of the originals. This work would probably be done during the restoration of 1869, the cost of which was borne by John Hartop.
Whilst looking round the exterior of the church you will notice other features; the Priest's Door in the South of the Chancel, which is of the 'Decorated period', and on the North side, two blocked up doorways. The one which gave entrance to the North Chapel is of the Perpendicular period and no doubt, was constructed during the last alterations to the Church. This entrance would be used solely by the Cresacre family and their Chantry Priest. The other built-up door near the tower was the "Devil's Door" and would be disused after the Reformation. When in existence it would be opened during baptisms and similar ceremonies, to let the Devil out.
And so we come back to the Porch, which is of 'Decorated' style, with a ribbed and slabbed room. Notice on the spring of the innermost arch on the right hand side, the Mason's mark chiselled in stone : This was his signature to his work.
Notice also the stone benches on either side which remind us of the days when the Church Porch was a very important place, used for many purposes. Here it was that official notices were published (and indeed still are), here that the Coroner held his court, and here that people found guilty of breaking the religious laws had to do penance. Porches were used for many other purposes such as the sale of merchandise, the arranging of fairs, the ratifying of bargains and deals, and sometimes a plough was kept there for Plough Monday which was the Monday after Epiphany when ploughing and rustic toil was restarted.
On entering the church we first notice the font which appears to be of the Transitional Norman period, dating to the latter half of the twelfth century, and as such is most probably the original font.
At the other side of the main entrance is the South Chapel, which, at the Reformation was bereft of its altar, but the mutilated piscina still remains to remind us of its original use for rinsing the sacred vessels at Mass in the days when this was the private Chantry Chapel of the Bella Aqua family.
Returning to the tower we quickly see the indications of the first church in the lower two storeys of the tower which are of a fine type of masonry of the late Norman era, and there is a good example of a deeply splayed Norman window, now blocked up, probably to give added strength when the tower was raised.
The Tower Arch and Chancel Arch are unmistakably the result of the great rebuilding in about 1330 and are of this period.
Looking down the church from under the tower there are a number of features which catch the eye. The fine roofs of the Nave and of the Chancel should be noticed, and although there do not seem to be any marks which give any guide to dates, I have no doubt that this was the roof installed in the fifteenth century when the walls of the Nave were made higher. The massive tie beams each with a different carved boss show unmistakable signs of great age.
Some years ago it was found that some of the ends were rotting and a kind of wall plate was inserted on the South wall and stone corbels were placed here and there without any attempt at uniformity. A piece of one of the tie beams was taken out and may now be seen in a corner of the Chancel doing duty as a table. An examination of this shows the finely moulded carving of which the earlier woodworkers were capable.
A puzzling feature to be noticed from the tower arch is the clerestory which is of perpendicular style and was made in 1410 (or thereabouts) when the roof was lifted. Although the clerestory windows on both sides were inserted at the same time it will be seen that those on the South are two light windows and those on the North three light.
Why was this unusual procedure adopted? Could it be that the two wealthy families who then owned Barnburgh and who would most likely bear most of the expense of the alterations, differed as to the style and finally decided each to have its own way on its own side. It will also be noticed (but more distinctly from the Chancel) that when the clerestory windows were put in they used as lintels, tomb slabs, probably taken from the church floor. This ruthless despoiling of graves can be seen in a number of churches. It has been suggested that they were brought here from the demolished St. Helen's chapel, but I cannot agree with this as it is more than likely that St. Helen's was still in use when the clerestory of St. Peter's was built.
The next thing which draws our attention from under the Tower Arch is the beautiful screenwork for which Barnburgh church is noted, for though it as been damaged much of it remains as it was in pre-Reformation days. In most churches such woodwork as this was utterly destroyed during the Reformation and we at Barnburgh should feel thankful that we have some that escaped this wanton destruction. The entire screenwork of the South Chapel remains and also that at the North end of the Cresacre Chapel, with its original door still doing service.
The woodwork under the Chancel Arch which now forms a screen about four feet high is all that remains of the rood screen. Try to visualise this screen as it was before it was destroyed about four hundred years ago. It would almost entirely fill the arch and high up in the screen would be the Rood Loft or gallery from which certain parts of the services would be conducted. On this Rood Loft would be the great crucifix and a number of beautifully coloured statues. The rood screen in most churches was a thing of beauty and it is little wonder that special windows were inserted and existing ones enlarged to throw more light on the screen.
Fairly high in the walls on both sides of the Chancel Arch (which, by the way, is much wider than is usual in a church such as Barnburgh) can be traced signs of stones having been cut away in order to provide support for the floor beams of the rood loft. At Barnburgh the ascent to the loft was by wooden ladder, but often a stone stairway was hollowed out in the stone pillar. A close examination of the fragment of the rood screen left to us will give some indication of its antiquity and original beauty.
And now let us commence a tour of the church. In the North Wall of the North Aisle will be found a diamond shaped hole cut out in one of the stones. It is a few inches across and has a recess of about the same depth. Four holes filled with lead show that a small iron or wooden door covered the recess at one time. This hole or recess has been the subject of much conjecture, and popular rumour has it that it is a "Lepers Squint." I do not agree with this, as if it had been intended as such it would have been placed in such a position that the lepers (who were not allowed in church) might see the high altar. I am more inclined to the opinion that it was made as a reliquary (a place for relics).
The family of Cresacres is reputed to have had more than one member taking part in the Crusades and it was a common custom when a knight died in the Holy Land to bring back his heart which was then blessed and placed in a box, or hole similar to that at Barnburgh, to be preserved for all time. Often valuable articles of gold or precious stones were placed with them. At the Reformation, however, these reliquaries were completely destroyed and their contents scattered.
The next item is the shaft of what was a cross near the first pillar of the North Aisle. This would be the original praying or preaching cross around which the people of Barnburgh would gather before they had a church. It is of Saxon origin and is older than anything else about the church in which it now stands. It was found last century, buried in the churchyard, in two pieces, one piece it is said was actually under the foundations of the church. Fortunately it was brought and re-erected in its present position some years ago by the Rev. W. R. Hartley. It lacks arms and is much decayed but it can be seen that it must have been a piece of fine workmanship for its day. The carvings show the figure of a priest with a kind of interlacing work acting as a support for the body. A very careful examination will also show pilasters with voluted capitals, and it is this that helps us to arrive at the period of its construction, which would be about a 1,000 years ago. This cross is one of few of its kind remaining in the country and is mentioned in every book I have seen on such subjects.
The bases of the pillars of the North Aisle should next be noticed. They are of late (or Transitional) Norman style and are remnants of the first enlargement which took place to the original church, about 1200. The Transitional Norman arches would be taken down and replaced, and the bases of the pillars lifted when the clerestory was built.
And now we come to the Cresacre Chapel which is of course the great attraction to many visitors to Barnburgh church. There is enough here to interest us for half a day if we examine carefully all it contains. The first thing to attract us is the Cresacre Tomb with the "Cat and Man" effigy which is the centre of one of the most remarkable legends in the land. The tomb and the legend I have dealt with fully earlier in this volume, but there is one thing to which I would draw attention. It will be noted that the two arches between the Chapel and the Chancel are modern (though to be sure they do blend well with the remainder of the church), and these replaced a single arch under which the Cresacre tomb originally stood. These alterations were probably carried out early last century, for the organ, which stands almost under one of the arches was put there in 1829, the gift of Henrietta Griffith of Barnburgh. It may be that these arches were inserted at the same time.
Of the other items of interest in the chapel I have already mentioned elsewhere the two mural tombstones to the Vincents of Barnburgh Grange, the slab tombstone of Alice Cresacre, wife of Sir Percival, and the brass to the memory of Anna Cresacre, the last of that name.
On the wall of the chapel there are three boards which record the charities of the Parish and as they are almost unreadable. Behind one of the boards, the oaken door by which the Cresacres made their entrance can be seen, still hung, the walling up of the doorway having been done on the outside only.
The screen which now encloses the East end of the chapel to form a vestry for the clergy, is part of a much older one than the rest of the screen work in the church and may have been part of the screen which stood in the original arch dividing the chapel and the chancel. It is of excellent though rather crude workmanship and of a design peculiar to South Yorkshire.
This North Chapel is now almost filled by the Organ, the Cresacre Tomb and the Choir and Priest's Vestries so that it is not easy to try to see it as it was when it functioned as the Cresacre Chapel with its own altar under the East window. However, the piscina remains, although its front edge has been shorn off. It is probable that this Chapel continued as a private place of worship to a much later date than the South Chapel.
It is a surprising thing that the North Chapel, which was undoubtedly in the possession of the Cresacre family for several centuries before, was, apparently, not founded as a Chantry Chapel until 1507.
In the Chancel there is a seat for about three persons which, though restored, is extremely old and is of the same workmanship as the small screen at the East End of the North Chapel. Indeed the Rev. E. P. Cook suggests it is part of that screen reconstructed to form a seat.
In the Chancel also may be noted the piece of a roof beam end (now serving as a small table) which I have mentioned earlier, and a number of brasses and tombstones of interest, all of which I also covered in parts of this little book.
Before the Reformation many of the windows of the church would be filled with beautiful stained glass, but unfortunately all was destroyed, with the exception of a few fragments which still remain in the small upper lights of the East window of the South Chapel, during Oliver Cromwell's time when his soldiers even used the churches as stables for their horses.
For two or three centuries after that the windows were filled with plain glass, but to-day there are several windows which once again fill the church with many colours. These are :
Part of the Great East window, given in memory of the Rector who built the present Rectory and gave us our greens the Rev. T, C. Percival and his wife.
In the South wall of the Chancel there is a window given in 1904 to the memory of John Hartop of Barnburgh Hall by his nephews and nieces. He was a great lover and benefactor of Barnburgh Church.
The window behind the font was given in the year 1906 to the memory of her sister by Mrs. Mary Hartop, and the window on the other side of the Tower Arch, in the North Aisle, was given in 1914 to the memory of this same Mary Hartop.
The latest coloured window to be inserted was that in the East end of the South Chapel which was given in 1946 by Archdeacon Clarke in memory of his wife, nee Christabel Marie Lockwood, formerly headmistress of Becket Road Infant School at Doncaster.
Barnburgh Church has a peal of three very fine bells, and although they are of no outstanding historical interest (none of them are pre-Reformation and none have inscriptions apart from being dated) they are of excellent workmanship and have a fine mellow tone. They were cast in the early part of the seventeenth century.
St Peter, Lusby near Horncastle, Lincolnshire. Built of greenstone, this tiny church probably dates from C12.
Looking through open windows of the Vatican Museums at St. Peter's Basilica and Michelangelo's dome.
St. Peter's Basilica, is a Late Renaissance church located within the Vatican City. It has the largest interior of any Christian church in the world, holding 60,000 people. (Wikipedia)
The last few from a highly rewarding afternoon visiting St Peter's, which is a delight. More ironwork, this time on the latch and lock on the main door.
According to the Book of Armagh, the site of St. Peter’s Church has been a religious settlement since 455CE
The Book of Armagh records St. Patrick’s visit to Dunmurraghill in 455CE, where he marked out the foundations for a religious settlement. The St. Peter’s site was laid out at the same time. The earliest churches were wooden in construction.
The Danes destroyed Dunmurraghill in 832.
The church at the St. Peter’s site was rebuilt as can be seen from a civil survey of 1220 which records a stone built Patrician church there.
In 1550 The Aylmer family of Lyons acquired the Manor of Donadea from the Earls of Ormond.
In 1626 Sir Gerald Aylmer Bart., rebuilt church incorporating the existing Patrician church into it.
We couldn't go inside St Peter's Church, which was bombed in the war, but I took this photo through one of the windows.
A closer look at the windows of the apse, added to the church by Sir George Gilbert Scott. The shape of the window is the same as in the body of the church, but in the apse he added a pointed surrouns complete with crocketting, slightly complicated tracery in the apex which doesn't echo that of the window below, and a fierce gryphon gargoyle on either side.
St Peter's was the ancient parish church of Harborne, long before it became absorbed into Birmingham's suburbs. Unfortunately little remains of the medieval building, just the 15th century red sandstone west tower. The rest of the church is Victorian rebuilding by H.R.Yeoville Thomason (architect of Birmingham Art Gallery and Council House, but on a much tighter budget here!) and dates from 1867.
The stained glass comprises the 1860s apse windows by John Hardman Studios, two windows by J.B.Capronnier of Brussels in the transepts and a 1980s south aisle window by F.Skeat.
The church is normally kept locked outside of services but is open to visitors on Summer Thursdays 1-3pm.
St Peter, Nottingham.
East Window by Ward & Hughes, 1878.
Allsop memorial - detail.
The firm of Ward & Hughes spans the history of Victorian stained glass from the Gothic revival to the Aesthetic Movement. Despite having worked in so many styles, their windows are easily recognisable since, unlike those of many artists, they are always signed “Ward & Hughes, London” with the date of manufacture. The partnership of Thomas Ward (1808-1870) and Henry Hughes (1822-1883) began in the early 1850s. Thomas Ward had been a stained glass designer for almost twenty years by this time, in partnership with JH Nixon. When Nixon retired Henry Hughes, one of his pupils and a talented designer, took his place. After Ward’s death in 1870 Hughes was free to run things as he wanted. There was clearly a change of direction in the 1870s away from the now stale Gothic style towards a style influenced by the Aesthetic Movement. Henry Hughes died in 1883 and the firm was taken over by a relative of his, Thomas Figgis Curtis (1845-1924). Soon after, the firm’s output was signed “TF Curtis, Ward & Hughes”. The firm remained operational until the late 1920s, but most of the company’s archives have been lost, so little is known about this remarkable and enduring firm.
101 North Bonner Street
Washington, North Carolina
St. Peter's Episcopal Church was established in 1822, but the 1824 frame church was among the many Washington buildings destroyed by fire in May 1864, during the Union occupation of Washington in the American Civil War. The current church was completed in 1873; the parish hall and Brown Memorial Chapel, also on the church's site, were dedicated in 1927. Much of the town is in Washington Historic District (St. Peter's is one of 512 contributing buildings), added to the National Register of Historic Places in 1979 (79001661). Note the gazebo in Washington's Festival Park, on the Pamlico River (far right, below tree branches).
Press "L" for larger image, on black.
On the way back from Oxfordshire, I thought about stopping off somewhere to take some church shots.
I'm sure Oxfordshire, Buckinghamshire, Surrey and Sussex have fine churches just off the motorway, but one had stuck in my head, back in Kent, and that Hever.
What I didn't realise is how hard it was to get too.
I followed the sat nav, taking me off the motorway whilst still in Sussex, then along narrow and twisting main roads along the edge of the north downs, through some very fine villages, but were in Sussex.
Would I see the sign marking my return to the Garden of England?
Yes, yes I would.
Edenbridge seemed quite an unexpectedly urban place, despite its name, so I didn't stop to search for an older centre, just pressing un until I was able to turn down Hever Road.
It had taken half an hour to get here.
St Peter stands by the gate to the famous castle, a place we have yet to visit, and even on a showery Saturday in March, there was a constant stream of visitors arriving.
I asked a nice young man who was directing traffic, where I could park to visit the church. He directed me to the staff car park, meaning I was able to get this shot before going in.
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Near the grounds of Hever Castle, medieval home of the Bullen family. Sandstone construction with a nice west tower and spire. There is a prominent chimney to the north chapel, although this is not the usual Victorian addition, but a Tudor feature, whose little fireplace may be seen inside! The church contains much of interest including a nineteenth-century painting of Christ before Caiphas by Reuben Sayers and another from the school of Tintoretto. The stained glass is all nineteenth and twentieth century and includes a wonderfully evocative east window (1898) by Burlisson and Grylls with quite the most theatrical sheep! The south chancel window of St Peter is by Hardman and dated 1877. In the north chapel is a fine tomb chest which displays the memorial brass of Sir Thomas Bullen (d. 1538), father of Queen Anne Boleyn. Just around the corner is a typical, though rather insubstantial, seventeenth-century pulpit with sounding board.
www.kentchurches.info/church.asp?p=Hever
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HEVER.
SOUTH-EASTWARD from Eatonbridge lies Hever, called in the Textus Roffensis, and some antient records, Heure, and in others, Evere.
This parish lies below the sand hill, and is consequently in that district of this county called The Weald.
There is a small part of it, called the Borough of Linckbill, comprehending a part of this parish, Chidingstone, and Hever, which is within the hundred of Ruxley, and being part of the manor of Great Orpington, the manerial rights of it belong to Sir John Dixon Dyke, bart. the owner of that manor.
THE PARISH of Hever is long, and narrow from north to south. It lies wholly below the sand hills, and consequently in the district of the Weald; the soil and face of the country is the same as that of Eatonbridge, last described, the oak trees in it being in great plently, and in general growing to a very large size. The river Eden directs its course across it, towards Penshurst and the Medway, flowing near the walls of Hever castle, about a quarter of a mile southward from which is the village of Hever and the parsonage; near the northern side of the river is the seat of Polebrooke, late Douglass's, now Mrs. Susannah Payne's; and a little farther, the hamlets of Howgreen and Bowbeach; part of Linckhill borough, which is in the hundred of Ruxley, extends into this parish. There is a strange odd saying here, very frequent among the common people, which is this:
Jesus Christ never was but once at Hever.
And then he fell into the river.
Which can only be accounted for, by supposing that it alluded to a priest, who was carrying the bost to a sick person, and passing in his way over a bridge, sell with it into the river.
Hever was once the capital seat and manor of a family of the same name, whose still more antient possessions lay at Hever, near Northfleet, in this county, who bore for their arms, Gules, a cross argent. These arms, with a lable of three points azure, still remained in the late Mote-house, in Maidstone, and are quartered in this manner by the earl of Thanet, one of whose ancestors, Nicholas Tuston, esq. of Northiam, married Margaret, daughter and heir of John Hever of this county. (fn. 1)
William de Heure. possessed a moiety of this place in the reign of king Edward I. in the 2d of which he was was sheriff of this county, and in the 9th of it obtained a grant of free warren within his demesne lands in Heure, Chidingstone, and Lingefield.
Sir Ralph de Heure seems at this time to have possessed the other moiety of this parish, between whose son and heir, Ralph, and Nicholas, abbot of St. Augustine's, there had been, as appears by the register of that abbey, several disputes concerning lands in Hever, which was settled in the 4th year of king Edward I. by the abbot's granting to him and his heirs for ever, the land which he held of him in Hever, to hold by the service of the fourth part of a knight's fee.
William de Hever, in the reign of king Edward III. became possessed of the whole of this manor, and new built the mansion here, and had licence to embattle it; soon after which he died, leaving two daughters his coheirs; one of whom, Joane, carried one moiety of this estate in marriage to Reginald Cobham, a younger son of the Cobhams of Cobham, in this county; (fn. 2) whence this part of Hever, to distinguish it from the other, acquired the name of Hever Cobham.
His son, Reginald lord Cobham, in the 14th year of that reign, obtained a charter for free warren within his demesne lands in Hever. (fn. 3) He was succeeded in this manor by his son, Reginald lord Cobham, who was of Sterborough castle, in Surry, whence this branch was stiled Cobhams of Sterborough.
The other moiety of Hever, by Margaret, the other daughter and coheir, went in marriage to Sir Oliver Brocas, and thence gained the name of Hever Brocas. One of his descendants alienated it to Reginald lord Cobham, of Sterborough, last mentioned, who died possessed of both these manors in the 6th year of king Henry IV.
His grandson, Sir Thomas Cobham, sold these manors to Sir Geoffry Bulleyn, a wealthy mercer of London, who had been lord mayor in the 37th year of king Henry VI. He died possessed of both Hever Cobham and Hever Brocas, in the 3d year of king Edward IV. leaving by Anne, his wife, eldest sister of Thomas, lord Hoo and Hastings, Sir William Bulleyn, of Blickling, in Norfolk, who married Margaret, daughter and coheir of Thomas Boteler, earl of Ormond, by whom he had a son and heir, Thomas, who became a man of eminent note in the reign of king Henry VIII. and by reason of the king's great affection to the lady Anne Bulleyn, his daughter, was in the 17th year of that reign, created viscount Rochford; and in the 21st year of it, being then a knight of the Garter, to that of earl of Wiltshire and Ormond; viz. Wiltshire to his heirs male, and Ormond to his heirs general.
He resided here, and added greatly to those buildings, which his grandfather, Sir Geoffry Bulleyn, began in his life time, all which he completely finished, and from this time this seat seems to have been constantly called HEVER-CASTLE.
He died in the 30th of the same reign, possessed of this castle, with the two manors of Hever Cobham and Brocas, having had by Elizabeth his wife, daughter of Thomas Howard, duke of Norfolk, one sonGeorge, executed in his life time; and two daughters, Anne, wife to king Henry VIII. and Mary, wife of William Carey, esquire of the body, and ancestor of the lords Hunsdon and the earls of Dover and Monmouth.
On the death of the earl of Wiltshire, without issue male, who lies buried in this church, under an altar tomb of black marble, on which is his figure, as large as the life, in brass, dressed in the robes of the Garter, the king seised on this castle and these manors, in right of his late wife, the unfortunate Anne Bulleyn, the earl's daughter, who resided at Hever-castle whilst the king courted her, there being letters of both extant, written by them from and to this place, and her chamber in it is still called by her name; and they remained in his hands till the 32d year of his reign, when he granted to the lady Anne of Cleves, his repudiated wife, his manors of Hever, Seale, and Kemsing, among others, and his park of Hever, with its rights, members, and appurtenances, then in the king's hands; and all other estates in Hever, Seale, and Kemsing, lately purchased by him of Sir William Bulleyn and William Bulleyn, clerk, to hold to her during life, so long as she should stay within the realm, and not depart out of it without his licence, at the yearly rent of 931. 13s. 3½d. payable at the court of augmention. She died possessed of the castle, manors, and estates of Hever, in the 4th and 5th year of king Philip and queen Mary, when they reverted again to the crown, where they continued but a short time, for they were sold that year, by commissioners authorised for this purpose, to Sir Edward Waldegrave and dame Frances his wife; soon after which the park seems to have have been disparked.
This family of Waldegrave, antiently written Walgrave, is so named from a place, called Walgrave, in the county of Northampton, at which one of them was resident in the reign of king John, whose descendants afterwards settled in Essex, and bore for their arms, Per pale argent and gules. Warine de Walgrave is the first of them mentioned, whose son, John de Walgrave, was sheriff of London, in the 7th year of king John's reign, whose direct descendant was Sir Edward Waldegrave, who purchased this estate, as before mentioned. (fn. 5) He had been a principal officer of the household to the princess Mary; at the latter end of the reign of king Edward VI. he incurred the king's displeasure much by his attachment to her interest, and was closely imprisoned in the Tower; but the king's death happening soon afterwards, queen Mary amply recompensed his sufferings by the continued marks of her favour and bounty, which she conferred on him; and in the 4th and 5th years of that reign, he obtained, as above mentioned, on very easy terms, the castle and manors of Hever Cobham and Brocas; and besides being employed by the queen continually in commissions of trust and importance, had many grants of lands and other favours bestowed on him. But on the death of queen Mary, in 1558, he was divested of all his employments, and committed prisoner to the Tower, (fn. 6) where he died in the 3d year of queen Elizabeth. He left two sons, Charles, his heir; and Nicholas, ancestor to those of Boreley, in Essex; and several daughters.
Charles Waldegrave succeeded his father in his estates in this parish; whose son Edward received the honour of knighthood at Greenwich, in 1607, and though upwards of seventy years of age, at the breaking out of the civil wars, yet he nobly took arms in the king's defence, and having the command of a regiment of horse, behaved so bravely, that he had conferred on him the dignity of a baronet, in 1643; after which he continued to act with great courage in the several attacks against the parliamentary forces, in which time he lost two of his sons, and suffered in his estate to the value of fifty thousand pounds.
His great grandson, Sir Henry Waldegrave, in 1686, in the 1st year of king James II. was created a peer, by the title of baron Waldegrave of Chewton, in Somersetshire, and had several offices of trust conferred on him; but on the Revolution he retired into France, and died at Paris, in 1689. (fn. 7) He married Henrietta, natural daughter of king James II. by Arabella Churchill, sister of John duke of Marlborough, by whom he had James, created earl of Waldegrave in the 3d year of king George II. who, in the year 1715, conveyed the castle and these manors to Sir William Humfreys, bart. who that year was lord mayor of the city of London. He was of Barking, in Essex, and had been created a baronet in 1714. He was descended from Nathaniel Humfreys, citizen of London, the second son of William ap Humfrey, of Montgomery, in North Wales, and bore for his arms two coats, Quarterly, 1st and 4th, sable, two nags heads erased argent; 2d and 3d, per pale or and gules, two lions rampant endorsed, counterchanged.
He died in 1735, leaving by his first wife, Margaret, daughter of William Wintour, of Gloucestershire, an only son and heir, Sir Orlando Humfreys, bart. who died in 1737, having had by Ellen, his wife, only child of colonel Robert Lancashire, three sons and two daughters; two of the sons died young; Robert, the second and only surviving son, had the castle and manors of Hever Cobham and Brocas, and died before his father possessed of them, as appears by his epitaph, in 1736, ætat. 28.
On Sir Orlando's death his two daughters became his, as well as their brother's, coheirs, of whom Mary, the eldest, had three husbands; first, William Ball Waring, of Dunston, in Berkshire, who died in 1746, without issue; secondly, John Honywood, esq. second brother of Richard, of Mark's-hall, who likewife died without issue, in 1748; and lastly, Thomas Gore, esq. uncle to Charles Gore, esq. M.P. for Hertfordshire; which latter had married, in 1741, Ellen Wintour, the only daughter of Sir Orlando Humfreys, above mentioned.
They, with their husbands, in 1745, joined in the sale of Hever-castle and the manors of Hever Cobham and Hever Brocas, to Timothy Waldo. He was descended from Thomas Waldo, of Lyons, in France, one of the first who publicly opposed the doctrines of the church of Rome, of whom there is a full account in the Atlas Geograph. vol. ii. and in Moreland's History of the Evangelical Churches of Piedmont. One of his descendants, in the reign of queen Elizabeth, to escape the persecution of the duke D'Alva, came over to England, where he and his descendants afterwards settled, who bore for their arms, Argent a bend azure, between three leopards heads of the second; of whom, in king Charles II.'s reign, there were three brothers, the eldest of whom, Edward, was knighted, and died without male issue, leaving two daughters his coheirs; the eldest of whom, Grace, married first Sir Nicholas Wolstenholme, bart. and secondly, William lord Hunsdon, but died without issue by either of them, in 1729. The second brother was of Harrow, in Middlesex; and Timothy, the third, was an eminent merchant of London, whose grandsons were Edward, who was of South Lambeth, esq. and died in 1783, leaving only one daughter; and Timothy, of Clapham, esquire, the purchaser of this estate, as above mentioned, who was afterwards knighted, and died possessed of it, with near thirteen hundred acres of land round it, in 1786; he married, in 1736, Miss Catherine Wakefield, by whom he left an only daughter and heir, married to George Medley, esq. of Sussex, lady Waldo surviving him is at this time intitled to it.
The castle is entire, and in good condition; it has a moat round it, formed by the river Eden, over which there is a draw bridge, leading to the grand entrance, in the gate of which there is yet a port cullis, within is a quadrangle, round which are the offices, and a great hall; at the upper end of which, above a step, is a large oak table, as usual in former times. The great stair case leads up to several chambers and to the long gallery, the cieling of which is much ornamented with soliage in stucco; the rooms are all wainscotted with small oaken pannels, unpainted. On one side of the gallery is a recess, with an ascent of two steps, and one seat in it, with two returns, capable of holding ten or twelve persons, which, by tradition, was used as a throne, when king Henry VIII. visited the castle. At the upper end of the gallery, on one side of a large window, there is in the floor a kind of trap door, which, when opened, discovers a narrow and dark deep descent, which is said to reach as far as the moat, and at this day is still called the dungeon. In a closet, in one of the towers, the window of which is now stopped up, there is an adjoining chamber, in which queen Anne Bulleyn is said to have been consined after her dis grace. The entrance to this closet, from the chamber, is now by a small door, which at that time was a secret sliding pannel, and is yet called Anne Bulleyn's pannel.
In the windows of Hever-castle are these arms; Argent, three buckles gules, within the garter; a shield of four coasts, Howard, Brotherton, Warren, and Mowbray, argent three buckles gules; a shield of eight coats, viz. Bulleyn, Hoo, St. Omer, Malmains, Wickingham, St. Leger, Wallop, and Ormond; and one, per pale argent and gules, for Waldegrave. (fn. 8)
It is reported, that when Henry VIII. with his attendants, came to the top of the hill, within sight of the castle, he used to wind his bugle horn, to give notice of his approach.
There was a court baron constantly held for each of the above manors till within these forty years, but at present there is only one, both manors being now esteemed but as one, the circuit of which, over the neighbouring parishes, is very extensive.
SEYLIARDS is an estate here which extends itself into the parishes of Brasted and Eatonbridge, but the mansion of it is in this parish, and was the antient seat of the Seyliards, who afterwards branched out from hence into Brasted, Eatonbridge, Chidingstone, and Boxley, in this county.
The first of this name, who is recorded to have possessed this place, was Ralph de Seyliard, who resided here in the reign of king Stephen.
Almerick de Eureux, earl of Gloucester, who lived in the reign of king Henry III. demised lands to Martin at Seyliard, and other lands, called Hedinden, to Richard Seyliard, both of whom were sons of Ralph at Seyliard, and the latter of them was ancestor to those seated here and at Delaware, in Brasted. (fn. 9)
This place continued in his descendants till Sir Tho. Seyliard of Delaware, passed it away to John Petley, esq. who alienated it to Sir Multon Lambarde, of Sevenoke, and he died possessed of it in 1758; and it is now the property of his grandson, Multon Lambarde, of Sevenoke, esq.
Charities.
A PERSON gave, but who or when is unknown, but which has time out of mind been distributed among the poor of this parish, the sum of 10s. yearly, to be paid out of land vested in the churchwardens, and now of that annual produce.
The Rev. JOHN PETER gave by will, about 1661, the sum of 10s. yearly, to be paid for the benefit of poor farmers only, out of land vested in the rector, the heirs of Wm. Douglass, and the heirs of Francis Bowty, and now of that annual produce.
The Rev. GEORGE BORRASTON, rector, and several of the parishioners, as appears by a writing dated in 1693, purchased, with money arising from several bequests, the names of the donors unknown, except that of WILLIAM FALKNER, to which the parishioners added 15l. a piece of land, the rent to be distributed yearly among the poor of the parish, vested in the rector and churchwardens, and of the annual produce of 3l. 12s.
Rev. THOMAS LANCASTER, rector, gave by will in 1714, for buying good books for the poor, and in case books are not wanting for the schooling of poor children at the discretion of the mimister, part of a policy on lives, which was exchanged for a sum of money paid by his executor, being 20l. vested in the minister and churchwardens.
SIR TIMOTHY WALDO gave by will in 1786, 500l. consolidated 3 per cent. Bank Annuities, one moiety of the interest of which to be applied for the placing of some poor boy of the parish apprentice to a farmer, or some handicraft trade, or to the sea service, or in cloathing such poor boy during his apprenticeship, and in case no such poor boy can be found, this moiety to be distributed among such of the industrious poor who do not receive alms. The other moiety to be laid out in buying and distributing flannel waistcoats, or strong shoes, or warm stockings, among such of the industrious or aged poor persons inhabiting within this parish, as do not receive alms, vested in the Salters Company.
HEVER is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop, is as such within the deanry of Shoreham. The church, which stands at the east end of the village, is a small, but neat building, consisting of one isle and two chancels, having a handsome spire at the west end of it. It is dedicated to St. Peter.
Among other monuments and inscriptions in it are the following:—In the isle is a grave-stone, on which is the figure of a woman, and inscription in black letter in brass, for Margaret, wife of William Cheyne, obt. 1419, arms, a fess wavy between three crescents.—In the chancel, a memorial for Robert Humfreys, esq. lord of the manor of Heaver, only son and heir of Sir Orlando Humfreys, bart. of Jenkins, in Effex, obt. 1736. Against the wall is a brass plate, with the figure of a man kneeling at a desk, and inscription in black letter for William Todde, schoolmaster to Charles Waldegrave, esq. obt. 1585.—In the north chancel, an altar tomb, with the figure on it at large in brass, of Sir Thomas Bullen, knight of the garter, earl of Wilcher and earl of Ormunde, obt. 1538. A small slab with a brass plate, for ........ Bullayen, the son of Sir Thomas Bullayen.—In the belsry, a stone with a brass plate, and inscription in black letter in French, for John de Cobham, esquire, obt. 1399, and dame Johane, dame de Leukenore his wife, and Renaud their son; near the above is an antient altar tomb for another of that name, on which is a shield of arms in brass, or, on a chevron, three eagles displayed, a star in the dexter point. These were the arms of this branch of the Cobhams, of Sterborough-castle. (fn. 10)
This church is a rectory, the advowson of which belonged to the priory of Combwell, in Goudhurst, and came to the crown with the rest of its possessions at the time of the surrendry of it, in the 7th year of king Henry VIII. in consequence of the act passed that year for the surrendry of all religious houses, under the clear yearly revenue of two hundred pounds. Soon after which this advowson was granted, with the scite of the priory, to Thomas Colepeper, but he did not long possess it; and it appears, by the Escheat Rolls, to have come again into the hands of the crown, and was granted by the king, in his 34th year, to Sir John Gage, to hold in capite by knights service; who exchanged it again with Tho. Colepeper, to confirm which an act passed the year after. (fn. 11) His son and heir, Alexander Colepeper, had possession granted of sundry premises, among which was the advowson of Hever, held in capite by knights service, in the 3d and 4th years of king Philip and queen Mary; the year after which it was, among other premises, granted to Sir Edward Waldegrave, to hold by the like tenure.
Charles Waldegrave, esq. in the 12th year of queen Elizabeth, alienated this advowson to John Lennard, esq. of Chevening, and being entailed to his heirs male, by the last will of Sampson Lennard, esq. his eldest son, under the word hereditament possessed it, and it being an advowson in gross, was never disentailed by Henry, Richard, or Francis, lords Dacre, his descendants, so that it came to Thomas lord Dacre, son of the last mentioned Francis, lord Dacre, afterwards earl of Sussex, in 1673, and at length sole heir male of the descendants of John Lennard, esq. of Chevening, above mentioned; and the same trial was had for the claim of a moiety of it, at the Queen's-bench bar, as for the rest of the earl's estates, and a verdict then obtained in his favour, as has been already fully mentioned before, under Chevening.
The earl of Sussex died possessed of it in 1715, (fn. 12) whose two daughters, his coheirs, on their father's death became entitled to this advowson, and a few years afterwards alienated the same.
It then became the property of the Rev. Mr. Geo. Lewis, as it has since of the Rev. Mr. Hamlin, whose daughter marrying the Rev. Mr. Nott, of Little Horsted, in Sussex, he is now intitled to it.
In the 15th year of king Edward I. this church of Heure was valued at fifteen marcs.
By virtue of a commission of enquiry, taken by order of the state, in 1650, issuing out of chancery, it was returned, that Hever was a parsonage, with a house, and twelve acres of glebe land, which, with the tithes, were worth seventy-seven pounds per annum, master John Petter being then incumbent, and receiving the profits, and that Francis lord Dacre was donor of it. (fn. 13)
This rectory was valued, in 1747, at 1831. per annum, as appears by the particulars then made for the sale of it.
It is valued, in the king's books, at 15l. 17s. 3½d. and the yearly tenths at 1l. 10s. 8¾d. It is now of the yearly value of about 200l.
¶The priory of Combwell, in Goudhurst, was endowed by Robert de Thurnham, the founder of that house, in the reign of king Henry II. with his tithe of Lincheshele and sundry premises in this parish, for which the religious received from the rector of this church the annual sum of 43s. 4d.
St. Peter's Church (Latvian: Svētā Pētera Evaņģēliski luteriskā baznīca) is a Lutheran church in Riga, the capital of Latvia, dedicated to Saint Peter. It is a parish church of the Evangelical Lutheran Church of Latvia.
Artillery fire destroyed the church on 29 June 1941. Conservation and restoration began 1954 with research by architect Pēteris Saulītis. The work was carried out from 1967 to 1983 under the direction of Saulītis and architect Gunārs Zirnis.[5] Renovation began with the metal tower frame. A rooster – a precise reproduction of the previous rooster and the seventh rooster in all – was placed atop the steeple 21 August 1970. The renovated tower clock began to show time in July 1975. According to tradition, it has only an hour hand. The bell music began in 1976; it plays the Latvian folk melody "Rīga dimd" five times a day and bells ring at the top of every hour. The tower has an elevator installed that allows visitors a view of Riga from a height of 72 metres (236 ft). Renovation of the interior of the church ended in 1984. The Polish company "PKZ" restored the main facade and portals in 1987–91. The St. Peter's Latvian Lutheran congregation resumed services in the church 1991, and the church was returned to the ownership of the Evangelical Lutheran Church of Latvia on 4 April 2006.
During World War II, the church lost an important object of cultural heritage - an impressive bronze candelabrum made in 1596 - which was taken to the town of Włocławek by Germans from Riga, resettled during "Heim ins Reich" action to annexed Polish territories. The 310 cm high and 378 cm wide candelabrum, previously called a standing lantern, was ordered by the City Council of Riga from the metal founder Hans Meyer’s Riga foundry. After the war, it was displayed in Włocławek's Basilica Cathedral of the St. Mary of Assumption. On 1 March 2012 this piece of the Late Renaissance art returned to its ancient home, as a result of an agreement on the repatriation of cultural properties. The statue of the rooster on the top of the church weighs 158 kg and 140 grams of gold were used to gold plate the statue. [6][7]
Norwich, Norfolk, England
According to Wikipedia, "St Peter Mancroft is a parish church in the Church of England, in the centre of Norwich, Norfolk. After the two cathedrals, it is the largest church in Norwich and was built between 1430 and 1455."
Kirche St. Peter und Paul auf der Klosterinsel Reichenau
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The problem with Christian churches having an east-west configuration is that you always have a dark side which is perpetually in shadow. At least at St Peter's the stonework is light and there's plenty of room around the church. This is another spiral stairway to a turret, with a glimpse of the top of the tower behind.
Hallo ihr Lieben,
es ist Sonntag und damit Zeit für neuen Lesestoff. Diese Woche haben wir mal wieder etwas für unsere Natur- und Meerfreunde. Wir berichten euch über unseren Kurzurlaub an der Nordsee. Wir verbrachten einige sehr schöne, aber auch stürmische, Tage in St. Peter-Ording.
Ihr erfahrt wieso wir uns für ein paar Fotos durch Orkanböen Richtung Strand gekämpft haben und warum sich das Ganze dann doch gelohnt hat.
Lest hier was wir sonst noch alles erlebt haben:
Instagram: hasche_
Annual Festival in St Peter's Church South Weald Village, near Brentwood Essex (UK) A few members of Brentwood & District Photographic Club were made very welcome. I took my 2002 Hasselblad 501CM with 120mm f4 'Macro-Planar and a Sunpak AutoZoom 3000 flash and 2006 dated KONICA VX 400 film
Wiggenhall St Peter's church is roofless and in ruins today although photographic evidence suggests it was largely intact until the 1920s.
The building is now cared-for by the Norfolk Historic Churches Trust, which maintains the structure. All the visible building is thought to date back to the 15th century, although the tower is set inside an earlier nave west-end in a very unusual fashion, creating a vaulted room in the resulting space.
www.flickr.com/photos/barryslemmings/albums/7215767440478... to see the full set.
The building once had a southern aisle but this was demolished in 1840 and the original three-light windows were relocated into the aisle arches when these arches were infilled to became the new south wall. The original aisle pillars are now visible in many places on the south wall as the rubble in-fill has fallen away.
All the brick, flint rubble and stone walling is intact, though the roof, window glass and the majority of the stone tracery is missing. Details such as the human and animal corbels and headstops, window seats, etc, all survive. The tower was struck by lightning in August 2013.
Comparison with Wiggenhall St Germans, about a mile north, suggest the two buildings are similar in layout and contain similar material. Much of the building work may have been contemporaneous. The old font from St Peter's is now on display at St Germans.
Recent widening of the River Ouse and the raising of its embankments have encroached on the church so much that the brick revetment of the river bank virtually blocks the west door (see picture).
Simon Knott's 2005 comment from his Norfolk Churches website is displayed on the church notice board: "A landmark on the river, St Peter sits at the end of a long narrow lane with a few houses for company. It must be bleak in winter, but it was a pleasant spot on this bright and breezy day; I sat for a while and watched them bringing in the harvest in the field across the lane".
This is the façade of the St Peter's Cathedral in Vatican City or perhaps part it. It is a bit hard to get the whole façade without interference from the surroundings...especially tourists that purposely walk in front of your camera and stop in the middle of your lens view in order to see what view you are taking. Plus, the right hand side of the colonnades which were covered with scaffolding and construction canvas did not help either. Hence the cropped shot.
The text inscribed above those Corinthian pillars enshrined the Borghese Family name forever on the front facade of the cathedral. Why the Borghese Family u may ask? Because Pope Paul V, who financed the completion of the Basilica was a descendant of the House of Borghese. It is written in Latin (i suppose) and it goes like this:
IN HONOREM PRINCIPIS APOST. PAULUS V BURGHESIUS ROMANUS PONT. MAX. AN. MDCXII PONT VII.
and translates into English: "In honour of Prince of Apostle; Paul V Borghese, a roman, supreme pontiff in the year 1612, and the seventh of his pontificate"
The image might be slightly darker or lighter or maybe a bit saturated as i edited it on my laptop instead of the usual desktop. I am not used with the colours on this screen and with the screen brightness adjustments button i am not sure which brightness settings represents the correct colour correction best.
And i decided to stop writing the camera settings in the post from now onwards. I think with the new flickr layout, the number of readers are getting less as they can favourite or comment from the front page without going into the picture. But don't worry, the settings are not completely gone if you terribly need to see them. You can still view it in the EXIF files of the image by clicking the three dots button under the picture.
The stained-glass windows in the apse were designed by Thomas Willement – for the original apse in the church that was completed in 1826. This was redesigned in 1858 and the windows altered so they would fit. Willement has been described as ‘the father of Victorian stained glass’ and was Heraldic Artist to George IV and then Artist in Stained Glass to Queen Victoria. He was also the first glassmaker to be commissioned by Pugin and was keen to maintain the methods of medieval glassmakers alongside heraldic glass, which then became less fashionable. As well as these windows locally, he also designed the rose windows at St Leonard’s in Charlecote and heraldic windows at Charlecote House itself.
The windows depict scenes from the life of St Peter. Also displayed are the Royal Arms of Mary Tudor and Philip of Spain – interestingly as, in the sixteenth century, Sir Thomas Lucy was very much involved with the search for recusant Catholic priests and the families who concealed them. There's also the coat of arms of the Bishop of Worcester and a representation of the arms and the three pikes of the Lucy family.
The Basilica di San Pietro, or St Peter`s, Rome , Italy,
This great building is the center of christianity. The opulence of the building's interior bears testimony to the wealth of the catholic church in the 16th century.
These are the stained-glass windows of the south aisle, all quite restrained but with rich reds and blues. This is St John.
"Then Peter stood up with the Eleven,
raised his voice, and proclaimed:
"Let the whole house of Israel know for certain
that God has made both Lord and Christ,
this Jesus whom you crucified."
Now when they heard this, they were cut to the heart,
and they asked Peter and the other apostles,
"What are we to do, my brothers?"
Peter said to them,
"Repent and be baptized, every one of you,
in the name of Jesus Christ for the forgiveness of your sins;
and you will receive the gift of the Holy Spirit.
For the promise is made to you and to your children
and to all those far off,
whomever the Lord our God will call."
He testified with many other arguments, and was exhorting them,
"Save yourselves from this corrupt generation."
Those who accepted his message were baptized,
and about three thousand persons were added that day."
– Acts 2:14a. 36-41, which is today's 1st reading at Mass.
My sermon for today can be read here.
Stained glass from Grace Cathedral in San Francisco.
In a county full of Medieval churches I'd say St Peter's is one of the prettiest. And this year the estate have planted flax in front of it.
Get there now I'd say!
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