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St Peter's Basilica : 'a monument to artistic genius' and michaelangelo' s dome...... "a masterpiece". The third basilica consecrated to St Peter on this site, the first in the 4th C, the dome's presence can be seen & sensed from many many vantage points across Rome. This pic..... we went to Vatican City after dark to see the basilica bathed in its night ligts but also because it's the only time there's any chance of experiencing Bernini's massive baroque St Peter's Sq. relatively empty. During the day it's a seething mass of visitors & tourists. Not easy to shoot I found, the architecture. Think Italy, think BIG. And I need some night photography skills ! S24 I'm not ! :-) The ancient egyptian obelisk in front of the basilica was brought to Rome by Caligula, from Heliopolis.
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. Peter's Basilica, is located within the Vatican City in Rome. It occupies a "unique position" as one of the holiest sites and as "the greatest of all churches of Christendom".
It is the burial site of its namesake Saint Peter, who was one of the twelve apostles of Jesus and, according to tradition, was the first Bishop of Antioch, and later first Bishop of Rome, the first Pope.
'Oh not again' I mumbled to my self as I tried the door handle and got that horrid solid locked feeling. After reading where the keyholder lived (right next door) I took the short stroll to the vicarage and prayed that some-one was in.
What a lovely couple the vicar David Mathers and his wife, they had no qualms at all about handing me the keys.So many judge me on my tattoos and sometimes slightly unshaven look. They quiz me and ask why I want to get in 'their' church,even though I am standing there with my camera. I have lost count of the times I have had to say that its my hobby. Sometimes its so frustrating, I am a forty something hard working man having to justify my wanting to go into a public building.Grrrrrr.
Anyway I digress,this church is very grand and very well looked after. The vicar popped over only to say hello, then he left me alone to lock up. He explained that as from May the church will be open daily. A beautiful church well worth a visit.
St. Peter's Church on Eaton Square in Belgravia in London (UK).
Like most discerning Grade II listed Church's in London, St. Peter's has a website www.stpetereatonsquare.co.uk/
Photograph taken on the most terminally dull day you could possibly imagine. Not unusual for London in winter.
I must have driven past St.Peter's Church, Little Warley, Essex more than 100 times in my life without really noticing it as it is just south of the Southend Arterial Road, tucked behind some trees and a petrol station. When I finally saw it close-up a couple of months ago I was instantly put in mind of an old boxer saying: "I could have been a contender, I could have been somebody". Truly this is the 'pugilist' of parish churches.
www.flickr.com/photos/barryslemmings/sets/72157594499464845/ to see the full set.
This much battered building has the remains of stone 15th century nave walls on the north and south side, the northern nave wall featuring an arch which springs into nothing... and just turns into badly matched 18th century brickwork. The chancel has six buttresses, four of them on the same side and in four different styles and differing materials. Two chancel walls are in different styles of brick implying more than one re-build on the other two sides.
The chancel's meeting with the nave on the south side is more than a little casual and is not helped by the fact that the more recently built chancel wall is STILL clearly out of plumb to the rest of the building.
The red brick tower at the other end of the church proclaims it was rebuilt in the 18th century, now why doesn't that word 'rebuilt' surprise me? The Victoria County History [now available online for Essex] remarks: "Frequent rebuilding suggests an unstable site". No sh*t Sherlock! This church looks about as stable as the San Andreas Fault yet - to return to my old boxer theme - it is still on its feet and fighting. This is a working church despite needing some serious time in the blue corner with its trainer, its manager plus Wren, Hawkesmoor and Pevsner!
In 1066 the manor was held by Guert but it was given to the Bishop of London by William the Conqueror. In 1086 the priest Tascelin held 15 acres so presumbably his church was on this site. The manor house was later held by the Setmels family and then the Belmels family.
The Victoria County History notes that the church nave is a 15th century rebuild and the original west tower was probably added then. The chancel's first rebuild in brick was in the 16th century while the south porch is probably of the same date. The present brick west tower is from 1718 but is partially on the earlier footings. Among the more recent renovations are another east wall on the chancel which is where most of the subsidence problem appears to have been centred.
I was not able to get inside but I noted box pews which are said to be c1600 and I could see a handsome alabaster monument in the chancel for the Denner family. I also noted that a burglar had smashed the chancel window since my earlier visit but this is now boarded up and has some furniture resting against it. It seems our 'old boxer' is still rolling with the punches.
Sanctuary
Built in 1864. The glowing centrepiece of the high altar is a detailed carving by Thomas Earp, showing Christ in Glory, framed by a mandorla and surrounded by angels. On either side of this there are enamelled mosaic panels depicting even more angels. These were installed in 1899 to replace earlier ones designed by Burne-Jones, which had, unfortunately, deteriorated beyond repair. The sanctuary lamps date from 1897. The East window, by Clayton & Bell, was designed by George Edmund Street.
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 Basilica in the Vatican City is one of the most popular sights to see when visiting Rome. Admission is free but security check-point lines often seem endless with no simple skip-the-line options. Turn up early in the morning or try to access the church complex directly after seeing the Sistine Chapel in the Vatican Museum. Climb the dome for some of the finest views in Rome.
St Peter's Church, Dunchurch, Warwickshire.
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.
The church of ST. PETER, BROWNCUM - CHILTON CANDOVER, is modern and consists of chancel 19 ft. 10 in. by 17 ft. 10 in., nave 75 ft. 7 in. by 27 ft. 10 in., and a south tower 7 ft. 10 in. square, these dimensions being taken internally. The church is faced with squared flint with limestone dressings and the roofs covered with tiles, with a tower at the south-west, the lower stage of which serves as a porch, surmounted by an octagonal lead spire.
The Anglican parish church in Belchford is dedicated to St. Peter & St. Paul. It is not known for certain when the first church was built in Belchford but there is documentary evidence one existed before 1153 and it would seem it has Norman origins for when restoration work was carried out in 1885 the architect reported finding traces of a much earlier and larger church on the same site. The present fabric, since restored at various times, dates from 1783 but poor workmanship meant that the chancel had to be rebuilt in 1859 when the opportunity was taken to make it larger. In 1885 further restoration work was necessary and an abortive attempt made to strengthen the tower. In 1900 it was deemed that a thorough restoration of the church was necessary. The first major operation was to take down the tower which was unsafe and the architect in charge confirmed the Norman origins of the church in dating some of the stonework as being of the Norman period.
This shot show the interior of this lovely little village church. Below the flag seen in this shot is a memorial (seen here) to 4 men of this small village who lost their lives on active service in WWII.
ⓒRebecca Bugge, All Rights Reserved
Do not use without permission.
Showing Moses. The altar was finished in 1611, and the work was done under the supervision of the carpenter Hendrick Könnicke.
St Peter's church (or St Petri, as the Danish and Swedish name is) was built in the beginning of the 14th century, a Gothic church made of bricks, replacing an older, Romanesque, from the beginning of the 13th century, before Malmö was even a town and just a small village. The high altar of the Gothic church was consecrated in 1319, though work probably continued for a while longer.
In 1529 the church was overrun by people caught up in the Reformation who caused quite a havoc, removing all traces of the Catholic faith - Malmö, under the direction of Claus Mortensen, was a stronghold for the Reformation at the time. Being buried in the church was very popular after the Reformation and after 1666 all the slots were taken in the floor, which meant that the only way to get a place was to buy an already used one - and burial plots became quite an investment. 1783 it became forbidden to sell and buy those slots - and in 1822 it became forbidden to bury people inside of churches - due to sanitation laws. In 1858 the church was renovated and almost all tombstones were buried underneath a new floor. But in a subsequent renovation, in the beginning of the 20th century, the stones were rescued from obscurity, and many placed in the Krämarkapellet to keep them protected.
St Peter's Cemetery (Petersfriedhof) in Salzburg. Mozart's sister Nannerl is buried here and the von Trapp family hid here when they were on the run after a concert for the Germans.
St. Peter's Square deserves to be the best square in Rome because of the massive interior space it encloses! And those Bernini columns are unbelievable.
The Papal Basilica of St. Peter in the Vatican (Italian: Basilica Papale di San Pietro in Vaticano), or simply St. Peter's Basilica (Latin: Basilica Sancti Petri), is an Italian Renaissance church in Vatican City, the papal enclave within the city of Rome.
Designed principally by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini, St. Peter's is the most renowned work of Renaissance architecture[2] and one of the largest churches in the world.[3] While it is neither the mother church of the Catholic Church nor the cathedral of the Diocese of Rome, St. Peter's is regarded as one of the holiest Catholic shrines. It has been described as "holding a unique position in the Christian world"[4] and as "the greatest of all churches of Christendom".[2][5]
Catholic tradition holds that the Basilica is the burial site of St. Peter, one of Christ's Apostles and also the first Pope; supposedly, St. Peter's tomb is directly below the high altar of the Basilica. For this reason, many Popes have been interred at St. Peter's since the Early Christian period. There has been a church on this site since the time of the Roman Emperor Constantine the Great. Construction of the present basilica, replacing the Old St. Peter's Basilica of the 4th century AD, began on 18 April 1506 and was completed on 18 November 1626.[6]
St. Peter's is famous as a place of pilgrimage and for its liturgical functions. The Pope presides at a number of liturgies throughout the year, drawing audiences of 15,000 to over 80,000 people, either within the Basilica or the adjoining St. Peter's Square.[7] St. Peter's has many historical associations, with the Early Christian Church, the Papacy, the Protestant Reformation and Catholic Counter-reformation and numerous artists, especially Michelangelo. As a work of architecture, it is regarded as the greatest building of its age.[8] St. Peter's is one of the four churches in the world that hold the rank of Major Basilica, all four of which are in Rome. Contrary to popular misconception, it is not a cathedral because it is not the seat of a bishop; the Cathedra of the Pope as Bishop of Rome is in the Archbasilica of St. John Lateran.
I must have driven past St.Peter's Church, Little Warley, Essex more than 100 times in my life without really noticing it as it is just south of the Southend Arterial Road, tucked behind some trees and a petrol station. When I finally saw it close-up a couple of months ago I was instantly put in mind of an old boxer saying: "I could have been a contender, I could have been somebody". Truly this is the 'pugilist' of parish churches.
www.flickr.com/photos/barryslemmings/sets/72157594499464845/ to see the full set.
This much battered building has the remains of stone 15th century nave walls on the north and south side, the northern nave wall featuring an arch which springs into nothing... and just turns into badly matched 18th century brickwork. The chancel has six buttresses, four of them on the same side and in four different styles and differing materials. Two chancel walls are in different styles of brick implying more than one re-build on the other two sides.
The chancel's meeting with the nave on the south side is more than a little casual and is not helped by the fact that the more recently built chancel wall is STILL clearly out of plumb to the rest of the building.
The red brick tower at the other end of the church proclaims it was rebuilt in the 18th century, now why doesn't that word 'rebuilt' surprise me? The Victoria County History [now available online for Essex] remarks: "Frequent rebuilding suggests an unstable site". No sh*t Sherlock! This church looks about as stable as the San Andreas Fault yet - to return to my old boxer theme - it is still on its feet and fighting. This is a working church despite needing some serious time in the blue corner with its trainer, its manager plus Wren, Hawkesmoor and Pevsner!
In 1066 the manor was held by Guert but it was given to the Bishop of London by William the Conqueror. In 1086 the priest Tascelin held 15 acres so presumbably his church was on this site. The manor house was later held by the Setmels family and then the Belmels family.
The Victoria County History notes that the church nave is a 15th century rebuild and the original west tower was probably added then. The chancel's first rebuild in brick was in the 16th century while the south porch is probably of the same date. The present brick west tower is from 1718 but is partially on the earlier footings. Among the more recent renovations are another east wall on the chancel which is where most of the subsidence problem appears to have been centred.
I was not able to get inside but I noted box pews which are said to be c1600 and I could see a handsome alabaster monument in the chancel for the Denner family. I also noted that a burglar had smashed the chancel window since my earlier visit but this is now boarded up and has some furniture resting against it. It seems our 'old boxer' is still rolling with the punches.
St Peter, Creeting St Peter, Suffolk
This is a church of great interest, despite its Victorian makeover. But first, you will have to find it. There are fleeting glimpses on the road from the village of Creeting St Mary, but, closer, the church is completely hidden by the trees that surround it. It lies at the end of a gravel track, about a third of a mile from the road. This is signposted, but the sign is also obscured by trees. A secret, hidden place. And yet, the sound of traffic tells us how close we are to the A14, and from the corner of the graveyard can be glimpsed the vast paint factory complex at Stowmarket in the valley below.
I first came here on a day of the high summer of 1998, when the trees were boiling with green. Coming back on a fresh spring day in 2007, I found the graveyard full of light. Two men with a Commonwealth War Graves Commission white van were busy beside the path, resetting a headstone. In the summer of 2019 the trees boiled again, and a heavy silent heat lay across the churchyard.
The tower is a pretty, Victorianised one from the 15th century. It bears obvious signs of substantial recent repairs, as does the porch below. The most striking thing about the outside of the church, though, is the series of knapped flint crosses on several of the buttresses. Each is about 90cm high, and there are five of them. However, seven other buttresses show signs of repair where the cross would have been, making twelve in all. Almost certainly, then, these were external consecration crosses, a rare survival.
You step into a church which is open to pilgrims and strangers every day. It is gloomy at first, especially on a summer's day, but as your eyes become accustomed to the light you see what is perhaps the most remarkable feature of the church on the north nave wall, the upper part of a great St Christopher wall painting. The colours are dulled, but the painting is highly detailed, although it is a little hard to decode at first, because the top of St Christopher's head has been obscured by a roof beam, and the Christ child appears to be the central figure. Once you've seen that he is sitting on the shoulder of a larger figure, all is clear. The important survival is that this St Christopher retains its scrolled Latin inscription, which translates roughly as Whosoever regards this image shall feel no burden in his heart today. Much of the lower part of the image has been destroyed, but a detail survives in the bottom right hand corner of a mermaid holding a mirror and comb.The greatest fear of late medieval Christians was a sudden death, leaving their sins unconfessed. Intercessory prayers were made to St Christopher for protection against such an eventuality, and this made him one of the most visible and significant parts of the 15th century economy of grace.
Creeting St Peter church was derelict by the 18th century, so we have the Victorians to thank for its survival. Theirs is the roof, the furnishings, windows and sanctuary, and it is all well done. The east window is particularly interesting, as it predates the Victorian stained glass industry. It was made by a Rector of the church. It shows St Peter, so we may assume that this is one of the county's earliest responses to the Oxford Movement-inspired revival of interest in medieval theology and sacramental art. The pulpit is slightly older than the other furnishings, and if you climb up into it you will see that it is heptagonal, the only one I know in Suffolk.
Another curiosity is the font. It is almost identical to that at Earl Stonham, four miles away, but unlike that one, this is in immaculate condition. Mortlock felt that it hadn't been recut, and the carving is certainly in a 15th century style. There seems to be nothing missing, except that the shields have no symbols on them. They don't seem to have been attacked by iconoclasts. Perhaps the font was never finished, but perhaps it is more likely that it is a clever Victorian copy of Earl Stonham's. Above the font, the 19th century gallery now contains the organ, which was rescued from a London church bombed in the Second World War.
Three fish swirl on the altar hanging, which is either by the great Isobel Clover, or the work of one of her pupils. On a quarry in a nave window is inscribed Be still me soul with the musical notation above it. They enhance the feel of what is obviously a well-loved, well-used and looked-after church.
St Peter is separated from its village by the four lanes of the A14, the roar of which can be heard from the churchyard. How has this happened? Simply, Creeting St Peter consists mainly of council houses and farm cottages, working people's houses. People like this do not get asked if they want a motorway at the bottom of the garden.
During Jesus' Last Supper with his disciples, he predicted that Peter would deny knowledge of him, stating that Peter would disown him before the rooster crowed the next morning. Following the arrest of Jesus Peter denied knowing him three times, but after the third denial, heard the rooster crow and recalled the prediction as Jesus turned to look at him. Peter then began to cry bitterly.
The churchyard at St. Peter, Marsh Baldon, Oxfordshire.
St. Peter's Basilica is part of Vatican City (officially the "State of Vatican City") a walled enclave within the city of Rome. But with an area of about 44 hectares, and a population of about 850 it is the smallest state in the world and so I merge it into Rome and Italy.
St. Peter's Basilica of today replaced "Old St. Peter's Basilica", that existed from the 4th to the 16th century, when the construction on the new basilica started. Charlemagne was crowned emperor of the Holy Roman Empire in "Old St. Peter" in 800.
(New) St. Peter's Basilica, designed principally by Donato Bramante, Michelangelo, Carlo Maderno and Gian Lorenzo Bernini is the most renowned work of Renaissance architecture, completed in 1590. It is one of the largest churches worldwide .
In the middle of the fortress stands the impressive Peter and Paul Cathedral, the burial place of all the Russian Emperors and Empresses from Peter the Great to Alexander III. The Cathedral was the first church in the city to be built of stone (between 1712-33) and its design is curiously unusual for a Russian Orthodox church..
On top of the cathedrals’ gilded spire stands a magnificent golden angel holding a cross. This weathervane is one of the most prominent symbols of St Petersburg, and at 404 feet tall, the cathedral is the highest building in the city.
In the Domesday book, there is a ‘parish’ and ‘manor’ of Marchington. In 1089 Sir Henry Ferrers endowed the land on which the current church is built. In the 13th century a chapel was built and dedicated to John the Baptist. An early record states that the priest in 1254 was named ‘Helias’.
In 1734 the Lord High Chancellor heard that parishioners were worried that the church would fall on their heads in stormy weather, so they asked for the church to be rebuilt at an estimated cost of £1154, and fund raising started in churches all around the country. However only £400 was raised, so a more modest building was designed and built, and completed in 1744. Some timbers from the old building were used to re-hang the bells in the bell-tower, and the oak box-pews were re-used too. At this time it was re-dedicated to St Peter.
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The chancel was rebuilt in the late 19th century. The church is built in red brick on a plinth, with stone dressings and a tile roof. The chancel is in Gothic style, and the rest of the church is Classical. The church consists of a nave, a chancel with a north vestry, and a west tower. The tower has two stages, and is surmounted by an octagonal cupola with a leaded roof, a ball finial, and a weathervane. The west doorway is round-headed and has a rusticated surround, a projecting corbel decorated with a dragon, and a statue of Saint George. Above it is an oculus, a band, and on the west side is a clock face with a moulded surround.
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The image of St Peter's church in its own altar window (shown here prior to the blocking of the porch doorway).
The liturgical 'east' window by Francis Stephens installed in 1955. Stephens was a pupil of Martin Travers and his style shows a strong similarity to Traver's work. He was assisted in making this window by John Hayward at the Faith Craft Studios.
The central focus is a rich group of Christ in glory flanked by Mary & St Peter whilst the background glass was kept deliberately light as was the fashion in much postwar stained glass. At the bottom is a panoramic view of Rugby with its identifiable landmarks and churches, including St Peter's itself on the left hand side.
St Peter's church was built in 1909 to the design of Charles Ford Whitcomb and is a sturdy essay in Arts & Crafts Gothic, brick built with stone dressings and rendered internally. It originally consisted of a spacious nave and apse (orientated north) but and extension in 1933 resulted in a new sanctuary and the reorientation of the interior towards it, leaving the apse as a baptistery. Further alterations in 1984 subdivided the interior with an enormous gallery inserting a floor extending through the apse and two bays of the nave, creating space for a church hall beneath. More recently St John was added to the church's dedication to commemorate a former sister parish (based in a much more modest building that closed).
The handsome interior of the church now has a rather reduced floor space but the full length of it can still be appreciated from the gallery level. The focus is the large window above the altar with stained glass by Francis Stephens installed in 1955.
For more on the building and the window see below:-
peterjohnchurch.weebly.com/archive---building.html
The church is a familiar landmark to me having grown up in the area and attended the former art college next door (long since replaced by houses).
The church is normally open only for services and functions but I was lucky enough to time my last visit well and was given a friendly reception here. There are plans for further work to the building, principally the re-opening of the former porch which was bricked up in the 1984 alterations and has lead many since to believe the church had closed, it is very much alive and well and I wish them every success with this venture.
Blick von der Empore auf Kirchenschiff und Chor der Kirche, die von 1731-1735 unter Fürstabt Adolph von Dalberg errichtet wurde. Die einheitliche Ausstattung im Fuldaer Barock aus der Erbauungszeit der Kirche passt sich wunderbar an die Architektur der Kirche an.
A few photos I took during earlier tests of the Pirton walk, but didn't manage to duplicate them during the group walk: St Peter's Church, Holwell, Hertfordshire (grade II; a different angle to those taken on the live walk), 27 May 2013. I don't normally like my photos being out of chronological order, but I'll make an exception here!
To see my collections, go here: www.flickr.com/photos/anemoneprojectors/collections/.
Built by T E Wilson in 1978. Wilson also did my favourite modern church in the area, St Joseph in Uppingham Road, Leicester.
Outside Siracusa's cathedral photographing one of its guardians: St Peter. It was Christmas time and the town was all a twinkling of lights; the perfect compliment to a Baroque symphony.
St. Peter's Church
To the southwest is the Late Gothic St. Peter’s Church, parts of which were subsequently redone in Baroque and Neogothic styles. Formerly the university church, it was once used to bury deceased professors, local officials, and prominent residents. There are a number of tombs and grave-stones in the church’s interior and gardens.
St Peter’s Church, Heidelberg.
Stained glass
In Peter's glass paintings of the 19th and 21st century are present. The older windows are located in the choir, contemporary window Johannes Schreiter in the nave and in the southern and the northern side chapel.
Detail: Stained glass window in the choir (1869).
In the choir polygon three neo-Gothic stained glass windows have been preserved, which were about 1869 by Henry Beiler (sen.), Heidelberg, executed. The three-figure group in the Timeline window is the most colorful accent in the choir: In the middle of the increases is the chalice, blessing Christ flanked by Peter and John the Evangelist. Color and character style betrayed the proximity to the painting of the Nazarenes.
The side windows in the choir master is reported to their design and content of typical pictorial creations of Protestantism and inscriptions as foundations. They are dedicated people in the Protestant church history and designed as a sober Portrait Gallery:. (. Reg 1611-1632) left King Gustav II Adolf of Sweden, including Elector Ottheinrich Palatine, accompanied by the theologian Philipp (reg 1556-1559.) Jakob Spener (1635-1705) and Friedrich Daniel Ernst Schleiermacher (1768-1834), right in the same cross-shaped arrangement of Martin Luther (1483-1546) and Ulrich Zwingli (1484-1531), flanked by Philipp Melanchthon (1497-1560) and John Calvin (1509-1564). These eight personalities embody controversial theological and confessional tendencies that seemed reconciled by the tolerance of the Baden Church Union 1821st
Original reredos. Erected 1880, created by William Butterfield, transferred to Lady Chapel altar when new reredos installed 1904. Butterfield produced the first designs for the cathedral.
“There has just been erected in St Peter's Cathedral by Messrs. Brown & Thompson a handsome reredos, lately arrived from England, designed by Mr. Butterfield, the architect of the Cathedral, and the gift of the Bishop and his immediate relatives and friends. It may be described as a handsome white marble ornamented and jewelled cross, five feet in height, springing from a marble shelf, in a canopied and cusped recess, flanked on each side by a subsidiary breaded panel rising from a solid marble shelf of some what lower level than that from which the cross is carried. . . Great credit is due to the employees of Messrs. Brown & Thompson for the careful way in which they, without accident, carried out so delicate a work.” [Register 3 Apr 1880]
THE LADY CHAPEL
Consecrated 7 Apr 1904, architect Mr.-E. J: Woods. When the chancel wall was demolished, the 2 triple windows (created by Wailes & Co 1876) were removed and given to Holy Trinity Adelaide and St Bartholomew’s Norwood. The new apse formed the Lady Chapel, funds being donated by Priscilla Simms in memory of her husband Dean Alfred Simms. Three new triple windows designed by John William Brown of Powell & Sons, Whitefriars were donated by Robert Barr Smith. The 2 windows removed had been dedicated to Bishop Augustus Short and Dean James Farrell & his wife Grace Montgomery; as are two of the new windows in the Lady Chapel.
“The builders are now engaged in laying the foundations of the lady chapel that is to be built behind the Cathedral out of a donation made by Mrs. Alfred Simms. Already the great north-western wall of the Cathedral has been pulled down, and the men have nearly finished excavating the vestries beneath the chapel. Two massive stone piers, three lofty archways, and a reredos 30 ft. high, will occupy the site of the old wall. The lady chapel will be in the shape of an octagon. It is to be built of Teatree Gully brown stone, with Murray-bridge freestone dressings.” [Advertiser 7 Feb 1903]
“lady chapel . . is the gift of Priscilla Simms, in grateful recognition of the gracious goodness of God and in memory of her husband, Alfred Simms. [Advertiser 30 Mar 1904]
“St. Peter's Cathedral . . . The spires to the Cathedral were built as the result of a donation of £10,000 by Mr. Barr Smith . . . [He] has also given three windows. . . The lady chapel and vestry are the gift of Mrs Simms, who is also giving a reredos.” [Advertiser 30 Mar 1904]
“The walls of the chapel are built mainly of brick, faced on the inside with dressed Murray River freestone, and externally with Teatree Gully freestone.” [Chronicle 2 Apr 1904]
“The question of stained glass for the central window was settled by Mr. Barr Smith generously offering to be responsible for the expense. Then a difficulty arose. Owing to the improvement in the art of staining glass which has taken place during the last quarter of a century, and other causes, the central window would be so greatly superior to those between which it would be placed that the harmonious effect of the whole would, be destroyed, and it would seem hardly on honour to the memory of Bishop Short and Dean Farrell that they should be represented by windows which would appear so inferior. The question then resolved itself into how to preserve the memorials to the late Bishop and Dean, and at the same time get over the difficulty which the stained glass presented. Mr. Barr Smith again generously came to the rescue, and offered to give new glass for all three windows, stipulating in the most emphatic terms that the two side windows were to be memorials to the late Bishop Short and Dean Farrell, and should bear the same inscriptions as at present.” [Register 1 Dec 1900]
Cathedral foundation stone 29 Jun 1869 by Bishop Augustus Short, opened 30 Mar 1876, first organ installed in north transept 1877, chancel & first part of nave consecrated 1 Jan 1878, tower & nave foundation stone 27 Sep 1890 by the Governor, Earl of Kintore, nave consecrated 14 Jul 1901, tower & spires dedicated 7 Dec 1902, Lady Chapel & crypt completed 7 Apr 1904, reredos dedicated 6 Mar 1910, front steps 1911, new organ dedicated 6 Jul 1930 in south transept, bells 29 Jun 1947.
The Call of St Peter. Carved panel on the reredos.
Carved English oak reredos dedicated 6 Mar 1910, designed by T H Lyon, carved by Herbert Read, of St. Sidwells Art Works, Exeter, England, figure panels depicting Christ, St Peter, archangels & saints by N Hitch & Co of London. Not everyone was happy with cathedral alterations – the previous reredos was moved to the Lady Chapel
“the new reredos, which is now being carved in England at the St. Sidwell's art works, Exeter, from the designs and under the direction of the architect, Mr. T. H. Lyon, of High-street, Kensington. The reredos will be a magnificent piece of work in oak, and it is expected to arrive in November. . . the old one, which has been placed at the end of the chapel above the altar.” [Express & Telegraph 30 Mar 1904]
“By giving the beautiful Lady Chapel to St. Peter's Cathedral Mrs. Alfred Simms (now Mrs. Harry Bickford) laid the Anglican Church, indeed, the people of the State — because all alike can be benefited and refined by the art of architecture — under a deep debt of gratitude. The reredos, which completes the work, and which brings this munificent lady's contribution up to £15,000, is now in position. . . of carved oak, and rising to a height of 34 ft., with screens 18 ft. 6 in. high on either side. . . On the tops of the screens are emblems of the Passion. . . The reredos is of solid oak, and all the work was done by hand. It was executed by Mr. Herbert Read, of St. Sidwells Art Works, Exeter. The artistic figure panels are by N. Hitch &. Co., Harleyford road, London, who has just executed figures of all the Kings of England for the west front of Truro Cathedral. . . The Federal authorities demanded a duty of £500 on the reredos before it was allowed to pass the customs. Doulton ware and stained glass windows are admitted free, but the Commonwealth authority judged this handsome and inspiring reredos, which goes into a Cathedral where everyone can see it, as not a work of art.” [Register 12 Dec 1904]
“The reredos contains 23 panels, The principal one depicts The Lord seated in glory surrounded by angel ministrants. The others portray, The call of St. Peter, The commission to St. Peter, The Visit of St. Peter to the house of Cornelius, The scene by the Sea of Tiberius, St. Anne and the Blessed Virgin Mary, St. Edward the Confessor, St. Andrew, apostle and martyr, The Venerable Bede, St. George, patron of England, St. David, Patron of Wales, St. Martha, St. Barbara, St. Patrick, St. Catherine of Alexandria, St. Agnes, St. Margaret, St. Augustine, St. Michael, St. Uriel, St. Raphael, and The Angel Gabriel. [Register 8 Mar 1910]
“During the last few years, in connection with this building, various mistakes have been made, and the building is commonly dubbed by visitors and residents as 'The Spoilt Cathedral. Among other mistakes, an unsightly and overpowering reredos has been forced upon us. This completely obscures from view the beautiful memorial windows raised to the memory of Dean Farrell and Bishop Short, and is a matter of deep regret to most church people.” [Register 4 Mar 1910]
Cathedral foundation stone 29 Jun 1869 by Bishop Augustus Short, opened 30 Mar 1876, first organ installed in north transept 1877, chancel & first part of nave consecrated 1 Jan 1878, tower & nave foundation stone 27 Sep 1890 by the Governor, Earl of Kintore, nave consecrated 14 Jul 1901, tower & spires dedicated 7 Dec 1902, Lady Chapel & crypt completed 7 Apr 1904, reredos dedicated 6 Mar 1910, front steps 1911, new organ dedicated 6 Jul 1930 in south transept, bells 29 Jun 1947.