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It has taken some time to see inside of this church. Repeated attempts at either Open House or whenever up in the City, and always the same story, the doors are locked, or people entering walk right by you.
Last year I was in St Andrew Undercroft and explained how frustrated I was, and other in the GWUK group were, and was told, just ring up and access will be allowed.
I had to wait, until Christmas had passed, and so I asked among the group who were interested, and a few other like-minded souls joined my, and so this afternoon we gathered outside hopefully to be let in.
In the end, no worries, we were allowed in, and we spent a good hour inside photographing it.
St Peter now comes under the umbrella of St Helen's Bishopsgate, and so there is a mix of the traditional and modern. The church itself is used for private study, and a kitchen, apparently.
The fabric of the church is unaltered pretty much, with just the pews having been replaced with tables and chairs
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St Peter upon Cornhill is an Anglican church on the corner of Cornhill and Gracechurch Street in the City of London of medieval origin. It was destroyed in the Great Fire of London in 1666 and rebuilt to the designs of Sir Christopher Wren. It is now a satellite church in the parish of St Helen's Bishopsgate and is used for staff training, bible studies and a youth club. The St Helen's church office controls access to St Peter's.[1]
The church was used by the Tank Regiment after the Second World War, subsumed under St Helen's Bishopsgate.
The church of St Peter upon Cornhill stands on the highest point of the City of London. A tradition grew up that the church was of very ancient origin and was the seat of an archbishop until coming of the Saxons in the 5th century, after which London was abandoned and Canterbury became the seat for the 6th-century Gregorian mission to the Kingdom of Kent.[2]
The London historian John Stow, writing at the end of the 16th century, reported "there remaineth in this church a table whereon is written, I know not by what authority, but of a late hand, that King Lucius founded the same church to be an archbishop's see metropolitan, and chief church of his kingdom, and that it so endured for four hundred years".[3] The "table" (tablet) seen by Stow was destroyed when the medieval church was burnt in the Great Fire,[4] but before this time a number of writers had recorded what it said. The text of the original tablet as printed by John Weever in 1631 began:
Be hit known to al men, that the yeerys of our Lord God an clxxix [AD 179]. Lucius the fyrst christen kyng of this lond, then callyd Brytayne, fowndyd the fyrst chyrch in London, that is to sey, the Chyrch of Sent Peter apon Cornhyl, and he fowndyd ther an Archbishoppys See, and made that Chirch the Metropolitant, and cheef Chirch of this kingdom...[5]
A replacement, in the form of an inscribed brass plate, was set up after the Great Fire[4] and still hangs in the church vestry today. The text of the brass plate has been printed several times, for example by George Godwin in 1839,[6] and an engraving of it was included in Robert Wilkinson's Londina Illustrata (1819–25).[7]
In 1444 a "horsemill" was given to St Peter's. The bells of St Peter are mentioned in 1552, when a bell foundry in Aldgate was asked to cast a new bell.
The church was badly damaged in the Great Fire of London in 1666. The parish tried to patch it up, but between 1677 and 1684 it was rebuilt to a design by Christopher Wren at a cost of £5,647.[citation needed] The new church was 10 feet (3.0 m) shorter than its predecessor, the eastern end of the site having been given up to widen Gracechurch Street.[8]
St Peter's was described by Ian Nairn as having "three personalities inextricably sewn into the City".[9] The eastern frontage to Gracechurch Street is a grand stone-faced composition, with five arched windows between Ionic pilasters above a high stylobate. The pilasters support an entablature; above that is a blank attic storey, then a gable with one arched window flanked by two round ones. The north and south sides are stuccoed and much simpler in style. Unusually, shallow 19th-century shops have survived towards Cornhill, squeezed between the church and the pavement. The tower is of brick, its leaded cupola topped with a small spire, which is in turn surmounted by a weather vane in the shape of St. Peter’s key.[6][10]
The interior is aisled, with square arcade piers[11] resting on the medieval pier foundations. The nave is barrel vaulted, while the aisles have transverse barrel vaults.[10] Unusually for a Wren church, there is a screen marking the division between nave and chancel. This was installed at the insistence of the rector at the time of rebuilding, William Beveridge.[12]
Charles Dickens mentions the churchyard in "Our Mutual Friend". A theatre group called The Players of St Peter were formed at the church in 1946 and performed there until 1987.[13] They are now based at St Clement Eastcheap where its members perform medieval mystery plays each November.
The church was designated a Grade I listed building on 4 January 1950.
St Peter, Boughton Monchelsea, is one of a series of parish churches built on a sandstone ridge overlooking the Kentish Weald. It is one of them which was closed on my last visit to the area, so on Heritage Weekend I returned, and found it open and very friendly.
A volunteer had cleared some of the vegetation in the churchyard, and was making busy with a bonfire, whose smoke lazily crept through the boughs of ancient trees down the slope of the down.
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A church whose interior does not quite deliver all its picturesque exterior promises. The situation on the end of the sandstone ridge with far-ranging views is wonderful - and the lychgate is one of the oldest in the county, probably dating from the fifteenth century. Inside the results of a serious fire in 1832 and subsequent rebuildings are all too obvious. The plaster has been stripped from the walls and the rubble stonework disastrously repointed, whilst the poor quality mid-nineteenth-century glass installed by Hardman's studio is not typical of the usual high quality of that firm's output. However, the stone and alabaster reredos is just the right scale for the chancel, and compliments the medieval aumbry, piscina and sedilia. There is also a good range of eighteenth- and nineteenth-century memorials including a large piece at the west end by Scheemakers to commemorate Sir Christopher Powell (d. 1742).
www.kentchurches.info/church.asp?p=Boughton+Monchelsea
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BOUGHTON MONCHENSIE
LIES the next parish northward from Hedcorne. It is written in Domesday, Boltone; in later records, Bocton, and sometimes West Bocton; and now usually Boughton. It has the addition of Monchensie, (commonly pronounced Monchelsea) to it from the family of that name, antiently possessors of it, and to distinguish it from the other parishes of the same name within this county; and it is sometimes called, in the neighbourhood of it, Boughton Quarry, from the large quarries of stone within it.
THIS PARISH lies upon the lower or southern ridge, commonly called the Quarry hills, which cross it, the summit of them being the northern boundary of the Weald, so much therefore of this parish as is below it is within that district. The church stands about half way down of the hill southward, and close to the churchyard is the antient mansion of Boughton-place, pleasantly situated, having an extensive prospect southward over the Weald, in a park well wooded and watered; from hence the parish extends into the Weald, towards that branch of the Medway which flows from Hedcorne towards Style-bridge and Yalding, over a low deep country, where the soil is a stiff clay like that of Hedcorne before-described. Northward from Boughtonplace, above the hill, the parish extends over Cocksheath, part of which is within its bounds, on the further side of it is a hamlet called Boughton-green, and beyond it the seat of Boughton-mount, the grounds of which are watered by the stream, which rises near Langley park, and having lost itself under ground, rises again in the quarries here, and flowing on through Lose, to which this parish joins here, joins the Medway a little above Maidstone. These large and noted quarries, usually known by the name of Boughton quarries, are of the Kentish rag-stone, of which the soil of all this part of the parish, as far as the hills above-mentioned consists, being covered over with a fertile loam, of no great depth. At the end of Cocksheath eastward is the hamlet of Cock-street, usually called, from a public-house in it, Boughton Cock, when the soil becomes a red earth, much mixed with rotten flints; a little to the southward of which, at the edge of the heath is the parsonage, with some coppice wood adjoining, and on the brow of the hill, at the eastern bounds of the parish, the seat of Wiarton, having an extensive prospect over the Weald.
THIS PARISH was part of those possessions given by William the Conqueror, on his accession to the crown of England, to his half-brother Odo, bishop of Baieux, whom he likewise made earl of Kent, under the general title of whose lands it is thus entered in the survey of Domesday, taken about the year 1080:
Hugh, grandson of Herbert, holds of the bishop of Baieux Boltone. It was taxed at one suling. The arable land is two carucates. In demesne there is nothing. But five villeins have five carucates there, and two acres of meadow. Wood for the pannage of twenty hogs. There is a church. In the time of king Edward the Consessor, and afterwards, it was worth eight pounds, now six pounds. Alunin held it of earl Goduine.
Four years after the taking the above-mentioned survey, the bishop of Baieux was disgraced, and all his possessions were consiscated to the crown.
After which, this manor came into the possession of the family of Montchensie, called in Latin records, De Monte Canisio, the principal seat of which was at Swanscombe, in this county. (fn. 1) William, son of William de Montchensie, who died anno 6 king John, was possessed of this manor, and it appears that he survived his father but a few years, for Warine de Montchensie, probably his uncle, succeeded to his whole inheritance in the 15th year of that reign. Soon after which this manor passed into the possession of the family of Hougham, of Hougham, in this county.
OUGHTON MONCHENSIE is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sutton.
The church, which is dedicated to St. Peter, is a small building, having a handsome square tower at the west end.
This church was given to the priory of Leeds, soon after the foundation of it by Henry de Bocton, and was afterwards appropriated to it, with the licence of the archbishop, before the reign of king Richard II. at which time the parsonage of it was valued at ten pounds, and the vicarage of it at four pounds yearly income, (fn. 4) both which remained part of the possessions of the priory till the dissolution of it in the reign of king Henry VIII. when it came, with the rest of the possessions of that house, into the king's hands, who by his dotation-charter in his 33d year, settled both the parsonage and advowson of the church of Bocton on his new-erected dean and chapter of Rochester, part of whose possessions they now remain.
The lessee of the parsonage is Mrs. Eliz. Smith; but the presentation to the vicarage, the dean and chapter reserve to themselves.
¶On the abolition of deans and chapters, after the death of king Charles I. this parsonage was surveyed by order of the state in 1649, when it was returned, that it consisted of the scite, which, with the tithes, was worth 56l. 3s. 4d. that the glebe land of twenty-nine acres and two roods was worth 8l. 16s. 8d. per annum, both improved rents; which premises were let anno 14 Charles I. to Sir Edward Hales, knight and baronet, by the dean and chapter, for twenty one years, at the yearly rent of 13l. 10s. The lessee to repair the chancel of the parish church, and the advowson was excepted by the dean and chapter out of the lease.
The vicarage is valued in the king's books at 7l. 13s. 4d. and the yearly tenths at 15s. 4d. per annum. In 1640 it was valued at sixty pounds per annum. Communicants, 177. In 1649 it was surveyed, with the parsonage, by order of the state, and valued at thirty pounds per annum, clear yearly income. (fn. 5)
The vicar of this church in 1584, but his name I have not found, was deprived for non-conformity; though he was so acceptable to the parishioners, that they, to the number of fifty-seven, made a petition to the lord treasurer, to restore their minister to them.
St Michael, Ormesby St Michael, Norfolk
St Michael is a little brother to the bigger Ormesby St Margaret a mile or so away, and there was once a third Ormesby parish church, St Peter, the site of which is still identifiable on some allotments not far off. St Michael sits beside the busy Caister to Cromer road, but has managed to surround itself with a few fields when much else around here is suburbia, garden centres, camp sites and the like. There's obviously been a lot of work done here recently; the thatching to the nave is neat and trim, and the porch is thatched too, which always looks good. To the east is one of the biggest car parks of any church in East Anglia.
A small church then, and a locked church, and always locked - I've never found it open, and neither has anyone else I know. We eventually managed to track down a churchwarden, who grudgingly conceded that she could be at the church in half an hour if we could wait. I have to say that I always feel a bit guilty when this happens. I'm fairly well-spoken, thanks to my grammar school education having beaten my accent out of me, and both me and my companion - sorry, my companion and I - could claim to be representing well-known institutions. Most rural churchwardens are elderly working class people who quickly jump to please when confronted with authority figures like me. I don't mean to disparage them for being like that. This is England, that's just the way it is. I was pleased and impressed that she'd held out for the half hour.
I agreed to the arrangement, and with thirty minutes to spare we went off and explored the church at Filby, which like the great majority around here is open every day, and has a notice telling you so. When we came back, the church was still locked, but there was a light on inside. Eventually, we gained the attention of the nice lady inside by banging on the door. She came and let us in with a smile. "Have to keep the door locked," she said, "you never know who's going to wander into a church." Quite.
To say that the inside of this church is immaculate would perhaps be too high a claim, given the theological nuance of the word, but it must be one of the best-looked after churches in Norfolk. All the memorials have been relettered in fetching blues and golds, there is a pristine set of Elizabeth II royal arms as if the older ones were considered too tatty, everything is clean and tidy, and this simplicity is a foil to a wonderful collection of early 20th Century windows to the designs of Henry Holiday. Faith and Hope are to north and south of the chancel, and the glorious three-light window to Love is to the east. About ten years ago, a detail of it was used as the Royal Mail's first class Christmas stamp.
I asked why the church was kept locked. "we couldn't leave it open, they're a rough lot around here, and you get a lot of funny people on that car park," was the response. She was probably right. When we had returned from our expedition from Filby, we'd parked on the car park between a motorcyclist obviously waiting for a drugs drop-off, and a coy man in a car hiding his face, perhaps hoping for a pick-up. The setting was probably, as my companion observed, a doggers' paradise. But if this is all that stops Ormesby St Michael church being open to pilgrims and strangers, if this is all that prevents the parish from fulfilling its Christian responsibility to be the House of God and the Gate of Heaven, then perhaps they should consider locking the car park rather than the church when they aren't using it.
Parish Church of St Peter and St Paul, Kimpton, Hertfordshire. Grade I. Photographed 1 January 2013.
In addition to what I said in the previous photo, the present spire and castellated parapet were added in the 17th century. Although the tower was built in the 15th century, the oldest bell was present in the church in the 14th century. It may have been housed in a gable at the west end of the nave and lated moved to the tower. Now there are six bells. Others were donated in 1540, 1636 (2), 1638 and 1728.
St Peter & St Paul Church Of England (Episcopalian) if you are American Church in Fareham Hampshire. Photo taken on a beautiful Spring afternoon.
This is what must have been the 4th time I have visited St Peter Old Church. The first was on a Good Friday a few years back, and when I approached the church, there was a service on. Another time there was a wedding, and further, on a Heritage Weekend, it failed to open.
So, when visiting the area at the beginning of the month, I mentioned that St Peter had been a bugbear of mine, Tim said its only a couple of miles away, we could try now.
Of course, driving from a different direction, not along the main road, I did not realise how close we were.
So, we would try.
Apart from the dowser in the churchyard, who was scattering, or rather placing, dozens of small pieces of white cloth about, but would move them if I wanted. I said no thanks, and left him to his stick waggling. Or that is what I said to Tim, but of course, I do not know if dowsing is any good, or what he was dowsing for.
Inside the church, several ladies were making busy, preparing the church for the next day's harvest festival, so many of them are in the shots, but it makes for a very welcoming sight indeed.
So very good to finally get inside, and many thanks to Tim for taking me.
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A much restored Norman church, with a tiny twelfth-century window set just above the (later) porch roof. There is a good example of a fifteenth-century low side window in the south-west corner of the chancel. The pews, pulpit and tiles are typical of mid-nineteenth century restorations, yet above is the fine nave roof of the usual crownpost type. It displays nicely pierced spandrels with a quatrefoil and dagger design. In 1846 Lord Camden built a new church on the main road in the village centre. Even so the old church is extremely well maintained and much loved in the neighbourhood. The churchyard contains many good headstones including one to Sir Morton Peto, the famous nineteenth-century engineer.
www.kentchurches.info/church.asp?p=Pembury+1
The first known record of Pembury, originally Pepingeberia, is to be found in the 'Textus Roffensis' (c1120). It tells of the manors of Pepenbury Magna (Hawkwell) and Pepenbury Parva (Bayhall).
The Advowson was granted by Simon de Wahull to Bayham Abbey c1239. (Advowson is the right in English Law of presenting a nominee to a vacant parish. In effect this means the right to nominate a person to hold a church office in a parish).
Pembury has two churches dedicated to St Peter. The oldest, known as the Old Church, stands outside the modern village in the woods to the north of the A228 bypass. The newer building, known as the Upper Church, stands in the heart of the village on Hastings Road.
The plan of the Old Church and the little Norman window above the South door indicate that the original Church dates from 1147 at least, or even 1100AD. Most of the present Church was built in 1337 by John Colepeper of Bayhall. He also built the chantry chapel of St Mary in the churchyard in 1355 but this was pulled down at the Dissolution of the smaller Monasteries in 1547 and three windows in the body of the Church were inserted with the money gained from the sale of the lead which had covered the chapel.
The most notable feature inside the Church is the roof of the nave. It is said to be one of the best specimens of the tie-beam and kingpost type in the country.
On the north wall near the pulpit there is an interesting brass with an inscription and a figure of an Elizabethan child, Elizabeth Rowe. There are two slabs set into the Sanctuary floor in memory of Dorothy Amherst (1654) and Richard Amherst (1664). The Amherst family owned the manor of Bayhall at this time.
During the nineteenth century a number of alterations were made to the Church, including the raising of the Chancel floor. This meant that the oldest tombstone was completely covered over. The inscription round the edge of the slab, written in Norman French, tells is that it is the resting place of Margaret, the daughter of Sir Thomas Colepeper.
Among the other memorial tablets there are several of the Woodgate family, three of whom were vicars of Pembury in the nineteenth century. Under the tower is a memorial to Lord George Spencer-Churchill.
The Organ, which has one manual and a pedal-board, dates back to 1877. It was made by Hill and Son, London, and cost £130. The organ was fully restored to its former glory in 2006. There are four bells which are now fitted with a chiming apparatus so that they can be rung by one person.
www.pemburychurch.net/pembury_old_church.htm
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Pembury is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester and deanry of Malling.
¶The church, which is dedicated to St. Peter, has a spire steeple at the west end. It was built by one of the family of Colepeper, patrons of it, and most probably by John Colepeper, esq. in the reign of king Edward III. for on the three buttresses on the south side of the chancel, there remain three shields of coat armour, each carved on an entire stone of about two feet and an half in depth, and the breadth equal with that of the buttress, which shews them to be coeval with that of the building itself. On the first is a rectangular cross; the second is the coat armour of Hardreshull, A chevron between eight martlets, viz. five and three, the above-mentioned John Colepeper having married the coheir of that family; the third is that of Colepeper, a bend engrailed. On a very antient stone on the pavement of the chancel, is an antient inscription in old French, for Margaret, the daughter of Sir Thomas Colepeper, which seems as early as the above mentioned reign. There are several monuments and memorials in it of the family of Amherst and their re latives; an inscription and figure in brass for Elizabeth, daughter of Richard Rowe, esq. of Hawkwell, anno 1607; a tomb for George Bolney, esq. who married a Wybarne; and in the porch are two antient stones with crosses on them.
¶The advowson of the church of Pembury was given with it, by Simon de Wahull, to the abbey of Begham, in Sussex, in pure and perpetual alms, as has been already mentioned.
¶Pope Gregory IX. anno 1239, granted licence to the abbot and convent to hold this church, then of their patronage, and not of greater value than ten marcs, as an appropriation upon the first vacancy of it, reserving, a competent portion for a vicar out of the profits of it. Notwithstanding which, it was not appropriated till the year 1278, when Richard Oliver, the rector, resigned it into the hands of John de Bradfield, bishop of Rochester, who granted his letters mandatory, for the induction of the abbot and convent into the corporal possession of the church, with its appurtenances, according to the tenor of the above-mentioned bull. (fn. 7)
¶The parsonage of the church of Pembury, with the advowson of the vicarage appendant to the manor, continued with the abbey of Begham till the dissolution of it in the 17th year of king Henry VIII. when it was surrendered into the king's hands, after which it passed in the same tract of ownership as the manor of Pembury, and appendant to it, till it became the property of William Woodgate, esq. lord of that manor, and the present patron of it.
¶It is a discharged living, of the clear yearly certified value of 46l. 10s. the yearly tenths of which are 12s. 8d.
¶Charles Amherst, esq. of Bayhall, by his will in 1702, gave as an augmentation to this vicarage, the sum of ten pounds to be paid yearly by such persons to whom the manor of Bayhall, with its appurtenances, should come and remain after his death.
¶In 1733 the Rev. George May, vicar, augmented it with the sum of 100l. 17s. 6d. to entitle it to the benefit of queen Anne's bounty.
¶There is an annual pension of forty shillings paid out of the parsonage to the vicar, which was settled on him and his successors, at the time of the appropriation of this church. The tithes of corn and grain of which this parsonage consists are now worth about one hundred and twenty pounds per annum.
¶The vicarage is now worth about one hundred and fifty pounds per annum.
St. Peter's Anglican Cathedral - King William Road, North Adelaide
Foundation stone laid 29 June 1869, first service 29 June 1876.
阿德莱德圣公会 圣彼得大教堂位于北阿德莱德威廉姆王大道的尽头，教堂始建于西元1869年，1876年投入使用。落日下的大教堂雄伟壮观，Canon TS17移轴镜头让教堂更加横平竖直，仅限庄严宝相，东西方的庙有异曲同工之处阿，阿德莱德素有教堂之城之称，大大小小2000多座各个教派的教堂林立。
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Glass in the East Window of St Peter's Church Ugley, executed by William Morris and attributed to Burne Jones. We were passing and saw that the church was open for their Harvest Flower Festival. I grew up here, I hadn't see these for over 45 years.
St Peter's church and Museum "Het Domein" in Sittard.
At an impressive 80m, Saint Peter's spire is the tallest church tower in the south of Limburg and it's also called the Grote Kerk, or Big Church, by locals. This Gothic cruciform house of worship was built in 1292 and boasts a prominent peak and layered walls made of brick and marlstone. Despite some adversity in its past, including a fire set by French troops in 1677 and a lightning strike in 1857, the church is still the pride and joy of the city. Other striking elements are its 1425 choir stalls decorated with fantastic creatures and more contemporary designs including the space dog Laika and a girl with a hoop. The statue of Saint Peter, situated 8m above the ground and the 50 church bells are also impressive.
Formerly Maples fine and reproduction furniture store (Waring & Gillow), and latterly Bliss Bar
(south side of St Peter's Road)
St Peter's at Dunchurch is an impressive red sandstone building dating largely from the 14th & 15th centuries, but rather restored in the 19th. It's impressive west tower changes colour in it's topmost stage and has a richly detailed parapet (sadly the carvings are worn, as is it's otherwise fine cusped west doorway).
The interior of the building is somewhat dark, due both to the colour of the stonework, and the mostly Edwardian stained glass (it's east and west windows are by Bryans, and often mistaken for Kempe's work). It feels like it has been stripped of much of it's antiquity, and this is attested to by the few fragments of the once fine medieval woodwork, stalls and benches all lost by the end of the Georgian period, with only five architectural panels worked into the more recent furniture in the chancel. otherwise the furnishings are all Victorian. There is an intriguing Baroque tablet in the north aisle with it's central inscription flanked by open marble doors, suggesting the entrance to a tomb.
A further ancient feature removed from the church has survived; the east window's fine 14th century geometric tracery remained in place until the late Victorian restoration when it was replaced with the present design. The old tracery was preserved and is now in the entrance hall of the Victoria & Albert Museum, London, where thousands of visitors walk past it each year, though likely very few ever notice it!
This church's tower is one of the most familiar anywhere to me, being a regularly seen landmark throughout my childhood, growing up in nearby Rugby. I even climbed to the top of it in 1992 via the scaffolding it was then shrouded in, whilst getting some experience cleaning the west window.
St. Peter's Basilica at night, and a sea of empty plastic chairs laid at its foot in St. Peter's Square.
View of St. Peter's Basilica in Vatican City from across the river near Ponte Saint Angelo.
Leica M9 + Summicron-M 35mm f/2.0.
St Peter's church at Allexton dates back to Norman times, which isn't apparent externally owing to medieval rebuilding and Victorian restoration, but upon entering the church one is immediately confronted with the beautifully detailed two-bay north arcade in clear Romanesque style. The arches have alas been mostly renewed (having been blocked for centuries but reopened when the north aisle was rebuilt in the 19th century) but follows the original design closely.
The other main feature of interest within the church is a patchwork collection of fragments of medieval glass in a north aisle window with several good details worth seeking out.
The church is no longer used for regular services and is now maintained by the Churches Conservation Trust who keep the building open for visitors to enjoy. We were pleased to find the church still open at around 6pm, our last open church of the day.
This photo links to my blog article http://www.heatheronhertravels.com/the-view-from-the-dome-of-st-peters-in-rome/
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Italian postcard by Ritolito, Roma. Photo: A. Mancori, A.M. Chretien, Roma / Cineurop, Paris. France Anglade in Caroline chérie/Dear Caroline (Denys de La Patellière, 1968).
Blonde French actress France Anglade (1942-2014) was the sweet and sexy star of many European comedies of the 1960s.
Marie-France Anglade was born in Constantine, France (now Algeria) in 1942. After the war, she grew up in Chalons-sur-Marne. In 1958 she spent the holidays with an aunt in Chelles where director Jean Delannoy made the external shots for his film Guinguette (1959) with Zizi Jeanmaire. An assistant noticed her there and France became an extra. Subsequently, she moved to Paris where she posed with Genevieve Grad for fashion photographs and advertisements for Elle magazine. As a result, she began a career in theatre and film. In 1961 her film career got on speed with parts in five films. She played the fiancée of Michel Auclair in Le rendez-vous de minuit/Midnight Meeting (Roger Leenhardt, 1961) starring Lili Palmer. She had small parts in three portmanteau (anthology) films, Amours célèbres/Famous Love Affairs (Michel Boisrond, 1961) with Brigitte Bardot and Alain Delon, Les parisiennes/Tales of Paris (Marc Allégret, 1962) starring Catherine Deneuve, and Les sept péchés capitaux/The Seven Deadly Sins (Edouard Molinaro, 1962) with Dany Saval. The following year she continued to play small parts in such French films as the erotic Douce Violence/Sweet Ecstasy (Max Pécas, 1962) with Elke Sommer and Pierre Brice, Comme un poisson dans l'eau/Like a Fish in Water (André Michel, 1962) starring Michel Piccoli, and La denunciation/The Immoral Moment (Jacques Doniol-Valcroze, 1962) with Maurice Ronet.
France Anglade had her first leading role in the TV comedy Le monsieur de 5 heures (André Pergament, 1962). She also appeared in small roles in such prestigious productions as the Oscar winner Les dimanches de Ville d'Avray/Sundays and Cybele (Serge Bourguignon, 1962) with Hardy Krüger as a man suffering from war trauma and amnesia who befriends a lonely little girl. Anglade found her niche in comedies. She played the title role in the comedy Clémentine chérie (Pierre Chevalier, 1963). Soon followed parts in other comedies like Les bricoleurs/Who Stole the Body? (Jean Girault, 1963) with Darry Cowl, Du mouron pour les petits oiseaux/Chicken Feed for Little Birds (Marcel Carné, 1963) with Dany Saval, and Les veinards/People in Luck (Jean Girault, 1963) opposite Jean Lefebvre. She also appeared in Italian comedies, including Le motorizzate/The Motorised (Marino Girolami, 1963) with Totò, and Canzoni bulli e pupe (Carlo Infascelli, 1964) with the Italian comic duo Franco Franchi and Ciccio Ingrassia. In Germany, she appeared in the Krimi spoof Maskenball bei Scotland Yard/Masked Ball at Scotland Yard (Domenico Paolella, 1963) starring Bill Ramsey. These were often European co-productions with several countries involved. She had grown into leading roles and starred in the romantic comedy Comment trouvez-vous ma soeur?/How Do You Like My Sister? (Michel Boisrond, 1964). In addition to her comedies, she played some dramatic roles such as in the war drama Le repas des fauves/Champagne for Savages (Christian-Jaque, 1964) with Antonella Lualdi.
In Italy France Anglade appeared in the spy spoof James Tont operazione D.U.E./The Wacky World of James Tont (Bruno Corbucci, 1965). After the success of the James Bond films, the Italians were among the first to jump on the Secret Agent bandwagon. They were also at the fore when it came to parody them. Two James Tont adventures emerged in 1965 (‘Tonto’ is Italian for ‘Dope’ (stupid)) featuring Sicilian comic Lando Buzzanca. Tont drives in a little Fiat which can double as a submarine. This film is the second entry – ‘D.U.E’. means ‘Two’, though the initials stand for ‘Destruction Urbi Eterna’. This refers to the Vatican, whose invaluable wealth the chief villain plans on stealing via an improbably elaborate plan which would even see the cupola of St. Peter’s flying into space! She then appeared in the British, Beirut-set thriller Twenty-Four Hours to Kill (Peter Bezencenet, 1965) starring Lex Barker and Mickey Rooney. In 1968 Life magazine placed a photo of her and a big gun in the magazine. She had auditioned for the new James Bond opus, On Her Majesty's Secret Service (Peter R. Hunt, 1969), but she never became a Bond girl. In the second half of the 1960s France Anglade only appeared in two films. She was one of the many beautiful European actresses who appeared in a sketch of the anthology film Le plus vieux métier du monde/The Oldest Profession (Claude Autant-Lara, 1967) about the history of prostitution through the ages, and she played the title role in the remake Caroline chérie/Dear Caroline (Denys de La Patellière, 1968). In the following decades, she sometimes appeared on French TV, and for long intervals, she seemed to be retired. She returned to the cinema in a supporting part in Madame Claude 2/Intimate Moments (François Mimet, 1981) starring Alexandra Stewart, a mediocre sequel to Just Jaeckin’s erotic thriller about a notorious Parisian madam. Later she appeared in the French-Senegalese coproduction Toubab Bi (Moussa Touré, 1991) and the thriller Money (Steven Hilliard Stern, 1991) starring Eric Stoltz. France Anglade’s last camera appearance was in the TV series Highlander (Peter Ellis, 1994) with Adrian Paul. France Anglade died in 2014 in La Verrière, Yvelines, France.
Sources: Mario Gauci (IMDb), Actrices de France, Life, Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
St Peter's Collegiate church is Wolverhampton's most important and historic place of worship, a grand crucifiorm edifice in the heart of the city dominated by it's slender central tower. Most of the present building (with the exception of the Victorian chancel) is late medieval in the Perpendicular style, though a church has stood here for far longer, as witnessed by the Saxon cross-shaft standing in the churchyard.
The interior is impressive, the spaces tall and narrow and crowned by fine wooden ceilings studded with bosses, that over the nave being particularly fine. The outstanding furnishing is the rare medieval stone pulpit, it's staircase guarded by an amusing carved lion. There are several noteworthy monuments and some fine stained glass throughout the building.
St Peter, Thurston, Suffolk
Thurston is a large and busy village just off of the A14 not far from the edge of Bury St Edmunds, with the blessing of its own railway station on the Ipswich to Cambridge line. The church sits on the edge of the village, a large, crisp building that stands upright above the road to Pakenham. None of the rough-and-readiness of many of Suffolk's rural churches here, for what you see from the road is entirely of the 19th Century.
On this site, we have often come across the work of the unfashionable Victorian Suffolk architect Edward Hakewill, son of the more famous Henry Hakewill. He had worked extensively in Suffolk the 1860s, and is sometimes good, at Kenton, for instance. But he can also be very undistinguished, as at Rushmere, Brantham and Shottisham. The reason I was intrigued by Thurston is that it was the work of his lesser-known younger brother, John Henry Hakewill, and I was interested to see what he had got up to.
His brother Edward's usual approach was to go in, build a north aisle, reduce the internal furnishings to a polite middle-brow sacramentalism, and then leave. John Hakewill had rather more than that to do here, because of something that happened on the night of Sunday March 18th 1860. In common with most Suffolk churches, St Peter had been greatly neglected through the 18th and early 19th Centuries, and its need for a facelift had become obvious. In fact, John Hakewill had already been engaged as the architect for a thorough going-over of the old structure. But shortly before midnight, supposedly on the night before work was due to commence, the tower fell.
It is hard to imagine the effect of an incident like that on a tiny, remote, rural community. The one permanent, ageless structure in its midst suddenly disappeared overnight. The tower collapsed straight down, but falling rubble took out the nave and aisle roofs, as well as destroying piers of both arcades. The parishioners decided to do the obvious, and retreat into the chancel for services. However, just ten days later, the rest of the nave collapsed, bringing down what remained of the arcades and roofs, and destroying all the furnishings, including the pulpit and lectern.
And so, a decision was made to rebuild from scratch, accommodating the new church to the surviving chancel and porch. As Roy Tricker points out, Hakewill was very much of the prevailing opinion of the time that Decorated was the only suitable style for a medieval church (despite the fact that Suffolk's finest moments are mostly Perpendicular), and, as a Bury Post article of the time noted, Hakewill was determined that the new church should be entirely in Decorated and correct architecture, replacing the inferior architecture in the old structure.
And so, there it is today. The exterior is certainly impressive, and the church reopened barely 18 months later, at the cost of about £3,500, about three quarters of a million in today's money, an extraordinary bargain I would have thought. This must have been a huge church, even before Hakewill's rebuild - I wondered if it had been a match for Rougham, across the A14. Much of the chancel appears relatively original, despite considerable patching up. The imposing tower itself is beginning to mellow with age, although perhaps it still bears a disconcerting similarity to what might be the tower of a Typically English Village Church in a model village, thanks to Hakewill's insistence on 'correct' Dec. But when you consider what Richard Phipson did across the road at Finborough and Woolpit during the same decade, St Peter may have got off lightly.
You step into a large, tidy space full of light - no gloomy north aise here. Inevitably, there is an urban feel to the wholly 19th Century interior, although there are some earlier survivals. One of these is the font, a fine perpendicular piece whose foliage panels conceal a green man or two. Can it have come from here originally? It is hard to see how the font could have survived the collapse of the tower. Collected fragments of 15th Century glass include a number of striking heads, as well as parts of the figures of a cherubim, a pope and a bishop. Up in the chancel there is what appears to be a pair of delicious medieval angels holding scrolls, although they are, I think, 19th Century fakes. Certainly 15th Century are the stalls below, however, which survived the fall of the tower and have delightful little figures in the spandrels. There are a couple more medieval benches now placed at the west end of the south aisle, also with green men on them.
Bringing us right up to date is one of Suffolk's several sets of royal arms to Queen Elizabeth II (there are others not far off at Rattlesden and Lavenham, among others). This set is dated 1977, the year of the Silver Jubilee. The woodwork in the nave is of a decent quality, presumably installed as part of the same commission as the rebuilding, but the reredos in the chancel is rather finer, the work of Father Ernest Geldart, the Anglo-catholic carpenter-priest whose parish and studio were at Little Braxted in Essex. Its commission may give us some idea of the churchmanship here at Thurston in the early years of the 20th Century.
A name that many will associate with Bury St Edmunds is that of the Greene King brewery, and the Greene family are commemorated here at Thurston. Sir Walter Greene paid for the restoration of the chancel. The memorial windows to the Greene family are by the stained glass firm Ward & Hughes, and were installed over thirty years from 1890 to 1920. Ward & Hughes were a company that went through three distinct phases. In their early years they were often quite interesting, as across the border at Pentney in Norfolk, for example. Later in the 19th Century they became one of the largest mass-producing workshops in the country, churning out thousands of windows for hundreds of churches all over the world that are largely of a similar middle-brow quality. In the 20th Century, however, the wheels came off a bit, and the windows vary greatly. There is a feeling that patrons were given too much say in the design, which is always a mistake, and sometimes they can be pretty awful. But here at Thurston the glass is spectacular. The 1890 glass is certainly not run-of-the-mill, being a version in glass of Axel Ender's painting Easter Morning. Whether it is good or not is perhaps a matter of taste, but the other two windows are rather thrilling, and delightfully mawkish - witness the figure of Peace stooping to kiss the lips of Righteousness. There is a Ward & Hughes window in a similar style to these last two up the road at Pakenham.
Elsewhere in the church, the lovely 1950 window of the Adoration of the Magi at the east end of the south aisle is by E L Armitage for Powell & Sons, and it replaced damaged glass which commemorated a 14 months old child, Mary Adelaide Blake, who died in 1842. The date of the new window suggests that the old one suffered blast damge in the Second World War, a common fate for these Suffolk churches surrounded by American air bases. The best window in the church, however, is at the east end of the north aisle, and depicts the Raising of Jairus's Daughter in a quiet, painterly style. It remembers Isabella Blake, who died in 1856, and nobody seems to know who it is by. Intriguingly, given that this is also to a daughter of the Blake family, it seems possible that the lost window in the south aisle was by the same workshop.
For many years, Thurston church was difficult of access, so it is pleasing to discover that it is now open to strangers and pilgrims every day. Even more, the sign in the porch asks you to be careful not to accidentally lock the door on your way out.
Keble Chapel
Church of St Peter, Hinton Road, Bournemouth
Grade I Listed
List Entry Number: 1153014
Listing NGR: SZ0888791218
Details
101756 768/13/1 HINTON ROAD 11-OCT-01 (East side) CHURCH OF ST PETER
GV I
13/1 HINTON ROAD 1. 5l86 (East Side) Church} of St Peter
SZ 0891 13/1 5.5.52.
I GV
2. South aisle 1851, Edmund Pearce, rest of church, 1855-79, G E Street, large, Purbeck stone with Bath stone dressings, built in stages and fitted out gradually. Dominating west tower, 1869, and spire (important landmark, 202 ft high), 1879: west door up steps with 4-light Geometrical window over, 3rd stage with steeply pointed blind arcade with encircled quatrefoils in spandrels, belfry with paired 2-light windows, elaborate foliage-carved cornice and arcaded panelled parapet, spire of Midlands type, octagonal with 3 tiers of lucarnes and flying buttresses springing from gabled pinnacles with statues (by Redfern) in niches. Western transepts with 4-light Geometrical windows, 1874. Nave, 1855-9, has clerestory of 5 pairs of 2-light plate tracery windows between broad flat buttresses, with red sandstone bands to walls and voussoirs and foliage medallions in spandrels. North aisle has narrow cinquefoiled lancets, Pearce's south aisle 2-light Geometrical windows (glass by Wailes, 1852-9); gabled south porch with foliage-carved arch of 3 order and inner arcade to lancet windows. South transept gable window 4-light plate tracery, south-east sacristy added 1906 (Sir T G Jackson). North transept gable has 5 stepped cinquefoiled lancets under hoodmould, north-east vestries, built in Street style by H E Hawker, 1914-15, have 2 east gables. Big pairs of buttresses clasp corners of chancel, with 5-light Geometrical window- south chapel. Nave arcade of 5 bays, double-chamfered arches on octagonal colunms, black marble colonnettes to clerestory. Wall surfaces painted in 1873-7 by Clayton and Bell, medallions in spandrels, Rood in big trefoil over chancel arch, roof of arched braces on hammerbeams on black marble wall shafts, kingposts high up. North aisle lancets embraced by continuous trefoil-headed arcade on marble colonnettes, excellent early glass by Clayton and Bell, War Shrine Crucifix by Comper, l917. Western arch of nave of Wells strainer type with big openwork roundels in spandrels. Tower arch on piers with unusual fluting of classical type, glass in tower windows by Clayton and Bell. South-west transept has font by Street, 1855, octagonal with grey marble inlay in trefoil panels, south window glass by Percy Bacon, 1896. Chancel arch on black shafts on corbels, low marble chancel screen with iron railing. Pulpit, by Street, carved by Earp, exhibited 1862 Exhibition: circular, pink marble and alabaster with marble-oolumned trefoil-headed arcaded over frieze of inlaid panels, on short marble columns, tall angel supporting desk. Lectern: brass eagle 1872 (made by Potter) with railings to steps by Comper, 1915. Chancel, 1863-4, has 2-bay choir has elaborate dogtooth and foliage-carved arches on foliage capitals, with clustered shafts of pink marble and stone, sculptured scenes by Earp in cusped vesica panels in spandrels, pointed boarded wagon roof with painted patterning by Booley and Garner, 1891. Choir stalls with poppyheads, 1874, by Street, also by Street (made by Leaver of Maidenhead) the ornate and excellent parclose screens of openwork iron on twisted brass colunms, pavement by Comper, l9l5. Sanctuary, also 2 bays, rib-vaulted, with clustered marble wall shafts with shaft rings and foliage capitals, painted deocrations by Sir Arthur Blomfield, 1899 (executed by Powells). First bay has sedilia on both sides (within main arcade), backed by double arcade of alternating columns of pink alabaster (twisted)and black marble. Second bay aisleless, lined by Powell mosaics. East window has fine glass by Clayton and Bell, designed by Street, 1866. Reredos by Redfern, also designed by Street has Majestas in vesica flanked by angels, under gabled canopies, flanked by purple and green twisted marble columns, flanking Powell mosaics of angels, 1899, echoing design of predecessors by Burne-Jones which disintegrated. North transept screen to aisle by Comper, 1915, Minstrel Window by Clayton and Bell, 1874, sculpture of Christ and St Peter over doorway by Earp. South transept screen to aisle and altar cross and candlesticks to chapel by Sir T G Jackson, l906, murals by Heaton, Butler and Bayne, 1908, windows in transept and over altar by Clayton and Bell, 1867, and to south of chapel (particularly good) by Morris, Marshall, Faulkner and Co, 1864.
The Church of St Peter, Churchyard Cross, Lychgate, Chapel of the Resurrection, and 2 groups of gravestones form a group.
Listing NGR: SZ0888791218
historicengland.org.uk/listing/the-list/list-entry/1153014
St Peter's church in the centre of Bournemouth, Dorset; one of the great Gothic Revival churches of the 19th century and now serving as the parish church of Bournemouth. On the site of a plain, slightly earlier church, this building was commissioned by the priest, Alexander Morden Bennett, who moved to the living from London in 1845.
In 1853 Bennett chose George Edmund Street, architect of the London Law Courts, to design the proposed new church. The church grew stage by stage and Street in turn commissioned work from some of the most famous names of the era, including Burne-Jones, George Frederick Bodley, Sir Ninian Comper, William Wailes and Thomas Earp. There is even one small window by William Morris.
1760-9 with spire added in 1776-7 by Sir Robert Taylor, an eye-catcher for Sir William Blackstone's Castle Priory. Nave coffered ceiling vault looking east. Managed by the Churches Conservation Trust
Parish Church of St Peter, Leeds, 1837-41.
Leeds Minster.
Lady Chapel.
17th BATTALION WEST YORKS REGT.
TO COMMEMORATE THE FORMATION OF THE BATTALION OF THE LEEDS BANTAMS 8TH DECEMBER 1914 AND IN MEMORY OF THOSE WHO FELL AND OF THOSE WHO SERVED IN THE GREAT WAR 1914-1918.
St Peter's Church, Dunchurch, Warwickshire (27/52)
The parish church of St. Peter’s Dunchurch, Warwickshire, was extensively restored in 1908. It was rebuilt in the 14th century from an earlier church and the tower was added in the 15th century. Very little remains of the earlier church except for the 13th century south wall of the chancel, piscina, and the base of the arcade pillars.
Please have a look at my 'Project 52 2014' photo set www.flickr.com/photos/29663856@N03/sets/72157639407666594/
Please have a look at my previous project, 'Project 52 2013' photo set www.flickr.com/photos/29663856@N03/sets/72157632445195620/
Kolner Dom - Cologne Cathedral (St. Peter) - Nordrhein-Westphalen, 26 April 2018. The Catholic Cathedral was begun in 1248 as a place of worship for the Holy Roman Emperor and to house the reliquary of the Three Kings (Three Wise Men). Work was abandoned in 1473. It was restarted 1842 and completed in 1880 to the original plans in a Gothic style based on Amiens Cathedral, France, although the spires are pure Germanic. It was badly damaged in WWII but restored 1945-56. It is the largest church in Northern Europe. Pictured is a chapel alter.
St Peter's at Norbury doesn't look too promising on first sight, with it's plain Georgian-rebuilt red brick tower, but is actually one of Staffordshire's more interesting churches. The nave and chancel remain largely unaltered in their 14th century form with fine Decorated tracery (the east window is Victorian). The wooden roofs are old too, and that in the chancel is particularly special with it's braces terminating in small foliate carvings, an unusual touch.
The church is notable for it's monuments, with several badly damaged effigies (presumably Sir Edward Botiller d.1412 with his wife and mother) scattered about the chancel, but the finest monument is the cross-legged knight within a cusped recess on the north side, believed to be the benefactor of the church, Ralph Botiller (d.1342). The effigy has been recoloured, but the most eye-catching details are the heads and whimsical creatures carved into the cusping of the arch above him. There is also a fine brass to Lady Hawys Botiller (c1360) and a large Baroque monument on the south side.
The stained glass isn't of great consequence with four Victorian windows in the chancel, and tiny fragments of medieval glass in the traceries of the nave windows. But an interesting conundrum is the heraldic stained glass panel inserted in the enclosure screen at the west end, which I'd've missed had I not been alerted to it. I believe it's the work of John Betton of Shrewsbury c1810, but will go further in raising the possibility that it originates from the Lady Chapel of Lichfield Cathedral. Two heraldic windows by Betton existed there between 1808-90 before being replaced by the current Flemish windows from Antwerp (added to complement the Herckenrode glass). Some years ago I had access to the remains of these Betton windows and there were at least 25 panels of the exact same design as this one. The coat of arms and inscirption also reference a prebendary of the cathedral, so as it's clearly not in situ at Norbury, I'm assuming it was snapped up for this church when the rest was mothballed..........?