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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.
St Peter's at Monkwearmouth dates back to 674 when it was built as the church of a monastery founded by Benedict Biscop, simultaneously with his new monastic complex at nearby Jarrow with which it was joined. Both these monastic churches were the first in Britain to be glazed with coloured glass when Biscop ordered materials and glass-blowers from France, but nothing now remains of this aside from a few excavated pieces displayed in the church and elsewhere (though more survives in Jarrow).
Only the west wall of the nave and the porch survive from Biscop's church, the porch being extended into the present narrow tower by the end of the 10th century. The rest of the building was rebuilt and enlarged in the 13th and 14th centuries into roughly the form we see today, though there was a heavy restoration in 1875-6 when the north aisle and arcade were completely rebuilt. The foundations of the old monastic buildings have been marked out in the churchyard on the south side of the church.
St Peter's is well worth a visit for its historic significance, its rare Anglo Saxon facade and tower and an attractive interior with some good modern glass by Leonard Evetts and an interesting display about the history of the site. It is happily generally kept open and welcoming to visitors most days (entry via the north door).
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.
St Peter's Collegiate Church is located on the highest and the oldest developed site in central Wolverhampton, England.[1] For many centuries it was a chapel royal, and from 1480 a royal peculiar, independent of the Diocese of Lichfield and even the Province of Canterbury. The collegiate church was central to the development of the town of Wolverhampton, much of which belonged to its dean. Until the 18th century, it was the only church in Wolverhampton and the control of the college extended far into the surrounding area, with dependent chapels in several towns and villages of southern Staffordshire.
Fully integrated into the diocesan structure since 1848, today St Peter's is part of the Anglican Parish of Central Wolverhampton. The Grade I listed building, much of which is Perpendicular in style, dating from the 15th century, is of significant architectural and historical interest. Although it is not a cathedral, it has a strong choral foundation in keeping with English Cathedral tradition.
We drove out to the North Essex coast yesterday as it was so nice and warm.
This is St Peter on the Wall at Bradwell.
We've visited before many years ago.
Sight of a major pilgrimage in early July but yesterday really quiet.
History below
Interior of St. Peter's Roman Catholic Church (1833, remodeled 1896) on Church Street in Harper's Ferry, West Virginia.
St Peter, Lindsay
Ash Street in Lindsay, Cooke County, Texas (33°38′9″N 97°13′35″W)
Roman Catholic Church
Neo-Romanesque Church
Frank A Ludewig, architect (Dutch)
Fridolin Fuchs, artist (Swiss)
Arthur Weinman Architects, 2010-2011 Restoration
1892, church organized
1903, previous church constructed
1917-1918, current church constructed
1970, Recored Texas Landmark
1979, National Register of Historic Places
1983, Churches with Decorative Interior Painting TR
2010-2011, Restoration
2012, AIA Fort Worth Design Awards
2013, Historic Fort Worth Preservation Award Winner
Texas Historical Commission Marker Text:
Organized 1892. Present church was erected in 1918 to replace structure destroyed by cyclone. Lindsay settlers, Germans whose lives centered in the church, furnished much manual labor for the building and saved old windmill towers to be used as reinforcements in concrete. The interior is lavishly decorated with unusual frescoes, stained-glass windows, and carved altars. Swiss artist was Fridolin Fuchs. Architecture is neo-Romanesque. Recorded Texas Historic Landmark--1970.
atlas.thc.state.tx.us/viewform.asp?atlas_num=5097005077&a...
www.historicfortworth.org/Home/2013PAwards/tabid/1372/Def...
Churches with Decorative Interior Painting TR
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.
Paintings over the nave arches were commissioned in 1877 (by Clayton and Bell). These depict scenes and miracles from the life of Christ.
Detail: Jesus Stood On The Shore.
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.
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.
St Peter, Neatishead, Norfolk
Here we are in the gently rolling fields and woods to the west of Barton Broad, a gentle patchwork of small hamlets sprawling towards Hoveton. This area of Broadland is not touristy at all, but intensely agricultural, which is perhaps surprising given its proximity to Wroxham. But there is a feeling of remoteness. Neatishead is pretty much in the middle of nowhere, a large parish with several settlements and in one of them, Three Hammer Common, you find the church. At first sight this is a relatively insignificant little building set back from the road at the end of a long avenue of pollarded trees. However, the more you look at it the more interesting it gets, for what you see today is in fact merely the surviving chancel of what was once a vast church, stretching back as far as the road.
The church was probably the work of the 14th Century, and the surviving remnant was patched up in the 1790s. The tower had come down about a century earlier, and perhaps this was what damaged the nave beyond repair, although of course the change from an emphasis on private devotional worship to public congregational worship at the Reformation meant that parishes with a small population had no longer any need of a huge church, and there are many examples in East Anglia of aisles being demolished to make the nave smaller, and a couple of examples in Suffolk of the nave being demolished leaving only the chancel for worship, which is effectively what has happened here. No traces remain at all of the ruins.
Because of the date, the reimagining of the church was done with a preaching house rather than a sacramental building in mind. The entrance at the west end is simple and apparently old. Pevsner thought it might be a reuse of the original west doorway, but it is just as likely to have been a former south or north aisle entrance. Above it was reset a strange relief that is presumably the side of a former memorial tombchest. It serves no purpose and probably they did it just because it looked grand.
Inside, the overwhelming sense is of a well-kept, well-loved building. A watery light plays across dark wood and the font, a trim traceried work of the 14th Century which survives from the medieval church. Some of the woodwork also survives from the earlier church, including a 16th century pulpit and, most memorably, an unusual 15th Century bench end of what appears to be a gryphon holding a bearded head in its beak, probably a reference to St John the Baptist.
There are several glimpses of the life of Neatishead a century ago. A rare surviving Girls Friendly Society banner hangs at the west end. This Anglican society began in the years before the First World War to care for girls away from home in service. Surprisingly, it still survives today in a different form, working with girls in deprived areas. And the church has no less than three separate memorials to young men killed in the First World War. They were all in their mid-twenties.
St Peter's Church Hall, Woolton, Liverpool.
This is the plaque on the wall of the Church Hall where Paul McCartney and John Lennon were first introduced to each other (please see previous photos).
This image and text is ©Carter Collectables, but please feel free to copy and re-publish it - as long as you play nicely and give us credit and a link to www.cartercollectables.co.uk - please see www.flickr.com/photos/cartercollectables/collections/7215...
The photo was taken in October 2008.
In the 1970s, when I used to stay at my Grandparent's house when my Mum and Dad went disco dancing, or whatever they called it before disco dancing was a thing, there was a TV series they used to watch called "How Green was my Valley". I remember little of it, except Granddad saying the valley was go green because of all the rain.
So, on Sunday, the rain was due to fall in the valleys, the hills and all else between.
What to do when we had come away without coats and umbrella?
Churchcrawling.
And thanks to the Church Conservation Trust, you ban fairly reply on those under their care to be open. I made a list of their churches in Shropshire, and after breakfast we set off for the first one, passing through the village of Knockin.
I kid ye not.
Where the village shop is called, of course, The Knockin Shop.
I also kid ye not.
Rain fell, roads were nearly flooded, so we splish-splashed our way across the county, down valley and up hills until we came to the entrance of an estate.
Here be a church.
Not sure if we could drive to it, I got out and walked, getting damp as the rain fell through the trees.
But the church was there, and open, if poorly lit inside. And I was able to get shots before walking up the hill to the car.
Two more churches tried, but they were locked and no keyholder about. So onto Wroxter, where a large and imposing church towered over the road. And to get there we passed through a former Roman settlement from which the modern town too its name. Most impressive was a reconstruction of a villa.
But we did not stop.
The church was open, light and airy even on a gloomy and wet day. I got loads of shots, especially of the fine tombs.
The final church was one not under the CCC, but one I had seen shots of online earlier in the week.
It took half an hour to drive to Diddlebury.
I kid ye not. Again.
And up the hill was the church, with a huge squat Saxon, or early Norman tower, and insode both the north and west walls were Saxon, with the north wall being made of dressed stone laid in a herringbone style.
It is an incredible survivor, and glad that I made the effort to come, as the church is amazing.
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St. Peter’s church, known by this dedication since at least 1322, is one of four churches in Shropshire with substantial Anglo-Saxon remains. The original building consisted of a nave with a west tower which was subsequently rebuilt in Norman times. The north wall, with its characteristic small double-splayed window and blocked door is the most visible surviving feature and dates from the eleventh century. The combination of dressed square ashlar masonry on the outside with herringbone work on the interior is most unusual, and has been the subject of much academic controversy.
Other Anglo-Saxon work includes some herringbone work in the North West corner, and fragments of sculpture, one of which predates the building by a century.
The chancel was added in the twelfth century, and some of the original windows survive. The tower was rebuilt in Norman times, and the later buttresses show that the structure had been unstable from an early date. The large blocked western arch is unusual, and its original purpose is unclear. The tower also features animal heads on the west face, and two sheila-na-gigs (obscene female figures) on the south side.
The south aisle originally dated from the fourteenth century, but was rebuilt in 1860. Inside the church, few furnishings survived Nicholson’s restoration in 1883, but the Royal Arms of William III on the west wall, painted in 1700, are worthy of note, as are the Jacobean corbels retained when the old ceiling was replaced in 1860.
Monuments in the church are mostly small mural tablets commemorating local gentry families of the eighteenth and nineteenth centuries. Note the two
fourteenth century tomb recesses in the chancel, one of which contains a later heraldic brass to Charles Baldwyn (1674), and also the small brass high on the north wall of the Vestry (formerly the Baldwyn family aisle of 1609). This commemorates Thomas Baldwyn (1614), who had earlier been imprisoned in the Tower of London for involvement with Mary Queen of Scots. There is good Victorian glass in the chancel.
www.diddleburychurch.com/history.html
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DIDDLEBURY
SO58NW Church of St Peter
1943-1/2/35
12/11/54
GV II*
Parish church. Saxon, restored C19. Dressed and rubble
sandstone; plain tile roofs. Nave, chancel, west tower, south
aisle and north transept.
EXTERIOR: long and short quoins to base of chancel; Decorated
east window; mid C19 south wall and porch; restored tower with
Norman superstructure over infilled Saxon arch; weather-vane.
Tall narrow north doorway, blocked C19, with semi-circular
arch on chamfered impost blocks.
INTERIOR: good herringbone masonry to north wall; fragments of
interlacing sculpture and piscina; 2 canopies with ballflower
ornament; font; tablets: Cornwall, d.1756; Powell, d.1769;
Fleming, d.1650; Bawdewyn, d.1674; Fleming, d.1761; some early
wood figure-head corbels to roof; funeral hatchments.
Listing NGR: SO5084385372
britishlistedbuildings.co.uk/101269882-church-of-st-peter...
St. Peter's Seminary is an abandoned Roman-Catholic seminary. It was designed by the architect firm Gillespie, Kidd and Coia in 1960. The site was abandoned in the late 1980's and there are continuous discussions regarding the restoration of the building, however there seems to be no sign of any construction work near the building at all.
Guernsey - St. Peter Port
Smith Street; a steep street leading up from the harbour.
St. Peter Port 25/06/01
Saint Peter’s Basilica or Basilica di San Pietro in Italian - located in Rome, Italy - is a fantastic construction with an ambitious facade that is almost 115 metres wide and 45.55 metres high.
For more information, click on: St. Peter's Basilica
St Peter's church in Hook Norton is a fine medieval building, Norman in origin (traces remain visible in the chancel) but in appearance belonging mostly to the later Middle Ages with a spacious late 14th century nave and a stately pinnacled Perpendicular west tower from c1500.
The interior is flooded with light, thanks to minimal use of stained glass and white-rendered walls, though we are reminded how different the original effect would have been by the fragmentary 15th century mural over the chancel arch where a pair of angels and male saints (very rustic work) can be seen against a red ground, no doubt originally supporting figures formerly flanking the carved crucifixion group of of the lost rood screen.
The stained glass in the east window is Victorian and nothing special, but that in the south aisle is a far more inspiring piece, a late work by the studio of Morris & Co serving as a WWI memorial.
The most important artefact in the church however is the 11th century font, a cylindrical drum carved with figures in relief, coarse in quality but fascinating in subject, with a group of Adam & Eve with the Tree of Knowledge, followed by several rather pagan-looking figures from the zodiac.
St Peter's Church, Heysham Village.
Further information at en.wikipedia.org/wiki/St_Peter%27s_Church,_Heysham
The dome of St. Peter's Basilica, as seen from the upper landing where you climb the stairs towards the top.
My film log is very sketchy during this part of the trip, so I'm quite sure what film this was - I think it's Kodak E200... Shot with a Holga 120N.
Find me on Tumblr.
St. Peter Church, Cookley, Worcestershire.
Until 1849 Cookley was part of the parish of Wolverley, and still is for all parochial purposes, but since that date it has become a distinct and separate ecclesiastical parish, and can boast a beautiful church, dedicated to St. Peter. It is a splendid example of Gothic architecture. Built chiefly with the funds of the late Esq. of Blakeshall - W. Hancocks. He also gave the communion plate, six bells and an endowment of £1000. The church was designed by Mr. Perkins of Worcester and built by Edward Smith of Old Swinford.
Behind the church door is a copy of the 'Saxon Charter of 964 AD' which defines the boundaries of Cookley.
Both the West and East stained glass windows are exceptionally beautiful examples of the work of the famous designer William Wailes (1808-1881) of Newcastle-upon-Tyne. The West window was the gift of Matthew Heath, Esq. Ironmaster of Heathfield. The East window was the gift of Mrs. W. Hancocks of Blakeshall Hall.
In the church there is both a Tablet and a Memorial Plate to the Cookley missionary Eleanor Harrison.
The village of Farningham in Kent was a chance discovery on the way back from Lullingstone (see earlier) and Farningham's parish church of St Peter and St Paul is a little stunner. While lacking the old glass of Lullingstone, Farningham compensates with some fine Victorian and modern glass, an Elizabethan monument inside the church and an 18th century mausoleum in the churchyard.
www.flickr.com/photos/barryslemmings/sets/72157603719055169/ to see the full set.
The chancel is mid-13th century (Early English) while the nave is 13th to 14th century. The tower was probably added in the 15th century. Exterior alterations in the 19th century saw the flat-topped tower raised seven feet to incorporate battlements and a turret. The red brick external repairs had been carried out earlier, around 1790.
Internally the church has featured various galleries in the nave which have all now been removed. The gallery in the base of the church tower survived until 1900. The eight-sided font is 15th century with sides carved to represent Baptism, Holy Matrimony, Ordination, Extreme Unction, Holy Communion, Mass, Penance and Confirmation.
The Roper memorial on the north wall is dated 1597 and represents Antony Roper with his wife and some of his children. The sons are there but some of the daughters broke away and are now lost. The church also has some good brasses hidden under the carpets. One is dated 1451 and represents a former vicar. Some of the glass is by Charles Winston, later a noted authority on stained glass. His father was vicar of Farningham and one window may be an apprentice piece of Charles'.
In the churchyard there is a handsome mausoleum to Thomas Nash, merchant citizen of London and a Justice of the Peace for Kent and Surrey. He died in Paris in 1778 and is buried here.
St Peter's is a rebuilt Tudor church that was dedicated in 1517, the year of Luther's Articles. It must rank among England's last medieval churches before the Reformation. Its patron was Sir Edmund Tame, whose father built St Mary's, Fairford.
The exterior is conventional Perpendicular, with heavy battlements and tower pinnacles, and the churchyard contains a display of chest tombs.
Inside, the 12th century font of the Herefordshire School has twelve apostles - or rather eleven with one left blank for Judas. Another, later, font stands by the pulpit.
Rendcomb comprises a nave with south aisle, divided by an arcade with concave-sided octagonal piers, similar to Northleach and Chipping Campden. Buried in the north wall are the remains of an Early Gothic arcade to a lost north aisle, three piers revealed in the plasterwork.
There is no division between nave and chancel, but the chancel roof is distinct, of Victorian sycamore. The rood screen was also a Victorian concoction, using parts of an old screen and with a frieze of cast iron. This structure straddles the chancel and south chapel. The latter has an iron altar rail with the chained swan emblem of the Guise family, who succeeded the Tames as lords of the manor.
Of interest are the corbels, those in the south aisle carved with angels playing instruments and holding heraldic shields.
The east window glass is unremarkable but some 16th century glass survives in the north windows. It has early Renaissance forms which imply a different designer from Fairford, and a later date of c.1520.
South aisle and south (Lady) chapel
Church of St Peter, Charsfield, Suffolk
Grade I Listed
List Entry Number: 1030343
Listing NGR: TM2542156574
More Information can be found on the link below:-
historicengland.org.uk/listing/the-list/list-entry/1030343
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Church of St Peter, Charsfield - in 1086 Doimesday there was a church here with 36 acres of land. The present stone church was rebuilt soon after. The 15c brick tower was built from several bequests including one from Henry Tolly in 1454 who left 33s.4d towards the building of a "new tower". It has 4 bells two cast by Brasyers of Norwich c1480 are inscribed "Hec fit sanctorum campana laude bonorum". and "sancta maria ora pro nobis"
The brick porch is early 16c when the walls of the nave were raised in height with the addition of brick above the flint stone. Round the base of the tower and porch are emblems of crown & arrows of St Edmund, chalice and wafer, and BVM initials M.
Restored in 1860s when "many dilapidated fittings were removed" including old pews and altarpiece.
Tower clock given by Alice Emma Whicker of Brook House in 1930.
St Peter's church in Hook Norton is a fine medieval building, Norman in origin (traces remain visible in the chancel) but in appearance belonging mostly to the later Middle Ages with a spacious late 14th century nave and a stately pinnacled Perpendicular west tower from c1500.
The interior is flooded with light, thanks to minimal use of stained glass and white-rendered walls, though we are reminded how different the original effect would have been by the fragmentary 15th century mural over the chancel arch where a pair of angels and male saints (very rustic work) can be seen against a red ground, no doubt originally supporting figures formerly flanking the carved crucifixion group of of the lost rood screen.
The stained glass in the east window is Victorian and nothing special, but that in the south aisle is a far more inspiring piece, a late work by the studio of Morris & Co serving as a WWI memorial.
The most important artefact in the church however is the 11th century font, a cylindrical drum carved with figures in relief, coarse in quality but fascinating in subject, with a group of Adam & Eve with the Tree of Knowledge, followed by several rather pagan-looking figures from the zodiac.
St Peter, Barnburgh, South Yorkshire.
Grade l listed.
The Church of St Peter is situated at the centre of the village of Barnburgh, near Doncaster, in South Yorkshire, and serves the communities of Barnburgh and Harlington.
Construction
St Peter's consists of a tower of four stages surmounted by a small, squat spire, a nave with north and south aisles, a chancel with a north aisle or chapel, and a porch. The church is built of a mixture of sandstone and magnesium limestone.
Although there has been a church on this site since c. 1150 AD, nothing remains of the original church.
There is a private chantry chapel north of the chancel for the Cresacre family, who were Lords of Barnburgh from the 13th to the 16th century. Most of this chapel is taken up by the tomb of Sir Percival Cresacre (who died in 1477) and his wife, Alice (died 1450).
en.wikipedia.org/wiki/St_Peter%27s_Church,_Barnburgh
www.barnburghandharlington.co.uk/stpetershistory.html
————————————————————————————
CHURCH OF ST PETER, BARNBURGH
Heritage Category: Listed Building
Grade: I
List Entry Number: 1151675
Date first listed: 05-Jun-1968
Statutory Address 1: CHURCH OF ST PETER
National Grid Reference: SE 48413 03211
Details
SE40SE BARNBURGH
6/7 Church of St. Peter 5.6.68
GV I
Church. C11-C12 lower tower, arcade of c1200, otherwise C14 and C15; restored 1869. Ashlar limestone, lead roofs. 3-stage west tower, 2-bay aisled nave with south porch, 2-bay chancel with north chapel. Decorated and Perpendicular tracery; embattled throughout. Tower: offset angle buttresses to earlier lower part. Recessed west window has 2 ogee-headed lights beneath segmental arch. Small round- headed window on south side. Offset beneath 2nd stage, clock on east side. C15 upper stage with offset and string course beneath transomed, 2-light belfry openings with continuous hoodmould. String course with corner gargoyles; parapet with pinnacled corner turrets. Recessed spirelet with crockets and weathervane. Nave: chamfered plinth, offset angle buttresses to aisle. Porch to bay 1 with pointed arch flanked by diagonal buttresses, chamfered transverse arches within. Decorated 3-light window to bay 2. String course beneath parapet. Clerestorey has square-headed windows of 2 cusped lights; parapet as aisle, east pinnacles. North aisle has blocked, quoined doorway to west of 2, pointed-arched, 3-light windows. North clerestorey windows of 3 pointed lights. Chancel: lower. Hooded priest's door flanked by restored 3-light window with reticulated tracery. Angle buttresses flank C19, 5-light, east window with geometrical tracery, east pinnacles. North chapel has blocked doorway with 4-centred arch and hoodmould; 2 windows to east as north aisle, hoodmoulds. Renewed pinnacles.
Interior: moulded, pointed tower arch. Double-chamfered arcades on cylindrical piers with octagonal capitals; broach-stopped base to north. Quadrant-moulded chancel arch. Gothic Revival arcade to north chapel with twin-shafted pier. Piscinas to nave and north chapel, reliquary niche to north aisle. Nave, south aisle and chancel roofs C15 with cambered tie beams and bosses. Nave has octagonal font with billets round base. Restoration date plaque: 1869 for John Hartop of Barnburgh Hall. Good Romanesque cross shaft near north aisle pier has acanthus carving and figures in high relief (Ryder, p103). Medieval parclose screen encloses chapel in south aisle, similar screen at east end of north aisle. North chapel has excellent early C14 wooden effigy of knight with heart in hands; now set within buttressed and canopied tomb to Sir Percival Cresacre (d.1477) with much Latin inscription. Wall monument to Vincent family on south wall of chapel, Thomas Vincent(d.1667),also brass to Anna Cresacre (d.1577) the ward and later daughter-in-law of Sir Thomas More. Brass in chancel to Alice (d.1716) wife of G. Mompesson.
Rev. W. J. Parker, The Cresacre Treasure: The Church and Village of Barnburgh, undated booklet.
P. F. Ryder, Saxon Churches in South Yorkshire, South Yorkshire County Council Archaeology Monograph, No 2, 1982.
Listing NGR: SE4841403212
Sources
Books and journals
Parker, W J , The Cresacre Treasure, The Church and Village of Barnburgh
Ryder, P F, 'South Yorkshire County Archaeological Monograph' in Saxon Churches in South Yorkshire, , Vol. 2, (1982), 103
historicengland.org.uk/listing/the-list/list-entry/115167...
St Peter, Lindsay
Ash Street in Lindsay, Cooke County, Texas (33°38′9″N 97°13′35″W)
Roman Catholic Church
Neo-Romanesque Church
Frank A Ludewig, architect (Dutch)
Fridolin Fuchs, artist (Swiss)
Arthur Weinman Architects, 2010-2011 Restoration
1892, church organized
1903, previous church constructed
1917-1918, current church constructed
1970, Recored Texas Landmark
1979, National Register of Historic Places
1983, Churches with Decorative Interior Painting TR
2010-2011, Restoration
2012, AIA Fort Worth Design Awards
2013, Historic Fort Worth Preservation Award Winner
Texas Historical Commission Marker Text:
Organized 1892. Present church was erected in 1918 to replace structure destroyed by cyclone. Lindsay settlers, Germans whose lives centered in the church, furnished much manual labor for the building and saved old windmill towers to be used as reinforcements in concrete. The interior is lavishly decorated with unusual frescoes, stained-glass windows, and carved altars. Swiss artist was Fridolin Fuchs. Architecture is neo-Romanesque. Recorded Texas Historic Landmark--1970.
atlas.thc.state.tx.us/viewform.asp?atlas_num=5097005077&a...
www.historicfortworth.org/Home/2013PAwards/tabid/1372/Def...
Churches with Decorative Interior Painting TR
St Peter's is a rebuilt Tudor church that was dedicated in 1517, the year of Luther's Articles. It must rank among England's last medieval churches before the Reformation. Its patron was Sir Edmund Tame, whose father built St Mary's, Fairford.
The exterior is conventional Perpendicular, with heavy battlements and tower pinnacles, and the churchyard contains a display of chest tombs.
Inside, the 12th century font of the Herefordshire School has twelve apostles - or rather eleven with one left blank for Judas. Another, later, font stands by the pulpit.
Rendcomb comprises a nave with south aisle, divided by an arcade with concave-sided octagonal piers, similar to Northleach and Chipping Campden. Buried in the north wall are the remains of an Early Gothic arcade to a lost north aisle, three piers revealed in the plasterwork.
There is no division between nave and chancel, but the chancel roof is distinct, of Victorian sycamore. The rood screen was also a Victorian concoction, using parts of an old screen and with a frieze of cast iron. This structure straddles the chancel and south chapel. The latter has an iron altar rail with the chained swan emblem of the Guise family, who succeeded the Tames as lords of the manor.
Of interest are the corbels, those in the south aisle carved with angels playing instruments and holding heraldic shields.
The east window glass is unremarkable but some 16th century glass survives in the north windows. It has early Renaissance forms which imply a different designer from Fairford, and a later date of c.1520.
The tower houses six bells, three of which are dated c1460 and were made by the same medieval bellfounder, John Daniel of London. The other three were cast in the 1840s.
St Peter's was founded by the Abbey of Peterborough in the 8th century. It is essentially a harmonious and light filled building of the 13th century. It stands amongst the town and school buildings, tucked away and surrounded by a wealth of Georgian tombstones. The school and the town, with its market, have developed around it.
From a distance its tall slender tower topped by a recessed needle spire, is most prominent. It is the tallest spire in the County.
It contains a 15th century brass lectern, a 17th century brass chandelier, choir stalls by Sir George G Scott and a host of 13th-19th century monuments. It has one of the best stone porches in the county, erected by a rich merchant, Robert Wyatt, around 1485.