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St. Peter's Church, Jaffa, Israël.
This Franciscan church in Jaffa, now part of Tel Aviv, was built in 1654 in dedication to Saint Peter over a medieval citadel that was erected by Frederick II and restored by Louis IX of France at the beginning of the second half of the thirteenth century. In the late eighteenth century the church was twice destroyed and consequently twice rebuilt. The current structure was built between 1888 and 1894 and most recently renovated in 1903.
Source: Wikipedia.
Grade I listed
The church actually consists of two churches joined lengthways, the western church dates back to the ninth century with a 10th century tower, and is one of the earliest remains of Saxon architecture. The chancel was demolished to make way for the later church.
The Saxon church consisted of three parts, the central part being the tower which served as a nave. To the west was a baptistery, and to the east there was a chancel. The church was enlarged around the time of the Conquest and a bell stage was added to the tower. The Saxo-Norman nave, chancel, and apsoidal sanctuary were added in the late 11th century. Soon after, aisles were added and later enlarged. The chancel was rebuilt in the 15th century, and the clerestory was added to the nave. The south arcade dates from the 14th century and is of five bays, although this was reduced to four with the building of the chancel, the original sanctuary being replaced. The north arcade is decorated with some reused 13th century material.
There are several 14th century grotesques and human heads which form label stops to the arcades.
There is a 15th century Rood screen.
There were major restorations in the mid 18th century and in 1858, with further restoration by Fowler in 1897 when the organ chamber was added.
The church was closed in 1970 and is now in the care of English Heritage. Extensive excavation was conducted between 1978 and 1984. The churchyard is reputed to have over 2800 burials.
The church has two stained-glass windows, one on the north side of the nave, and the other is blocked with only a glimpse visible near the toilets.
There is no organ, and the empty church contains exhibits from the excavations.
Interior of St. Peter's Basilica within the Vatican City in Rome. Was very difficult to get some decent quality shots as I didn't have my tripod with me. Liked the way the light came through the windows.
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.
Nave north window: restored by Baillie 1854/5
St Peter, Longham, Norfolk
This crisp, pleasing building sits a good mile away from its busy village, with only the former Hall for company. It isn't quite out in the wilds, because the busy Beeston to Gressenhall road runs nearby, and there is a fairly large commercial farm beside it, but the setting is grand, if a little austere. It probably looked better before the lawnmower enthusiasts carted the old gravestones away.
Unusually for this part of Norfolk, Longham has a very welcoming keyholder notice which virtually implores you to go off to the village and seek the key. While you are there, you could do worse than visit the White Horse, which seems to be a favourite pub of so many people.
Coming back suitably refreshed, you'll notice that the tower is a curious shape. This isn't just an effect of the Greene King, but because the top stage was removed as unsafe in the 18th century, and there is a very wide wall buttress to the east. This creates a sense of squatness which is not unpleasing, especially as a jolly counterbalance to the severely straight-faced chancel of the 1860s. The brick and flint looks as if it was the product of a computer simulation, it is so regular. I'm not sure who the architect was, but I am sure that he could not have been responsible for the porch, which is pleasingly ramshackle and looks as if it is made up of masonry from several different sources. A memorial stone in the entrance remembers the botanical artist Sarah Drake.
Mortlock describes the interior as modest, which is about right. It is not without character; the screen is very pretty, and if the paintwork is almost entirely modern it is still done very well. The rood loft stairs are cut into the south wall in an interesting way, built up to form the window enbrasure with a light that lets out into the splay. There's a large image niche in the east wall of the nave beside it.
Back in 2006, this was my 600th Norfolk church. Chris Harrison, who was with me, suggested that somewhere grander might have been more fitting, but I liked the way that St Peter was just another church, modest and yet purposeful.
302 Fishburne, St
Walterboro, SC
Founded 1867, Remodeled 1952
Originally, both whites and blacks attended the St. Jude's Episcopal Church - which is right across the street. Just after the Civil War, the slave population established St. Peter's.
St Peter's Church, Revelstoke was opened at Noss Mayo in 1882. The building was funded by Edward Charles Baring, Lord Revelstoke and was a replacement for the old parish church of St Peter at Stoke Point, 1.5 miles away, which had fallen into disrepair following damage during a storm in the 1840s.
Stained glass window of the South Transept of the York Minster.
York Minster, also known as 'The Cathedral and Metropolitical Church of St Peter in York'.
There has been a church in York dedicated to St Peter since the 630s, with a stone church built by Oswald of Northumbria in 637. This church was developed in the 670s with the addition of a school and library (a Minster being an Anglo-Saxon missionary teaching church); in 741 the building burned down and was rebuilt, holding 30 altars. During the Anglo-Saxon period (when York was Eoforwic), and then Viking period (Jorvik) there were a series of Benedictine Archbishops including including Wulfstan (d. 956), Saint Oswald (d.992), and Ealdred (d. 1069).
The cathedral was damaged in 1069 and repaired in 1070 by its first Norman archbishop, Thomas of Bayeux (d. 1100); in 1075 the church was destroyed by the Danes, but rebuilt from 1080, the new building was in the Norman style, with white and red rendering.
Following being made Archbishop of York in 1215, Walter de Gray (d. 1255) ordered the construction of a gothic structure. Work began in 1220, with the North and South Transepts completed in the 1250s in the Early English Gothic Style. The Chapter House was began in the 1260s, completed 1296; the nave was began in 1280s, building on Norman foundations, the outer roof was built in the 1330s, with the vaulting completed in 1360s. The choir (the last Norman structure) was demolished in 1390s, and was replaced 1405. The Central (Lantern) Tower was built from 1420 (replacing a c.13th tower that collapsed in 1407); the towers on the West Front were built 1432-72, after which the Minster was consecrated.
Because of the length of time taken to build the Minster, the architecture shows the development of the Gothic style from Early English to Perpendicular.
A short drive from Wootton is Swingfield, which lies near the Folkestone to Canterbury road, the A260. In fact beside that road is St John's, a preceptory, that I will endeavour to see inside of during the summer months.
In fact, I thought St John was the sole ecclesiastical building in the parish, but in fact there is a grand church in the centre of the village, opposite what used to the village pub.
The church has a grand tower with an even grander staircase turret running up one side, and in the porch I could see the 'church open' board, all packed away, It did not look good.
But it was open, but the first thing that struck me was the fine porch, apparently 14thC.
The church is a large two cell construction, with simple box pews in the nave, with wooden pews in the chancel.
It's walls are plain with few memorials, considering its history with the Knights of St John.
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This church is built in flint and rubble construction and the west tower has a remarkably wide stair turret. As one enters through the south porch one can see the remains of two mass dials made redundant by the construction of the porch itself. By the pulpit is a most unusual feature - the south-east window of the nave has had its sill cut away to provide space for a wooden ladder to give access to the rood loft. This window now contains a lovely stained glass representation of the Crucifixion with a charming little sun and moon at the top. At Swingfield the nineteenth-century north aisle detracts from the thirteenth-century nave; its scale, materials and lumpy effect do nothing to complement this charming church. It is currently (2005) under threat of conversion to a house.
www.kentchurches.info/church.asp?p=Swingfield
SWINGFIELD is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Dover.
¶The church, which is dedicated to St. Peter, consists of one isle and one chancel, having a square tower, with a beacon turret at the west end, in which is one bell. In the chancel are several memorials for the Pilchers, tenants of St. John's. In the isle are memorials for the Simmons's, of Smersall; arms, parted per fess and pale, three trefoils slipt. One of them, John Simmons, gent. obt. 1677, was great-grandfather of James Simmons, esq. alderman of Canterbury; memorials for the Pilchers; against the north wall is a monument for Mary, widow of Richard Pilcher, gent. of Barham, obt. 1775; arms, Pilcher, argent, on a fess dancette, gules, a fleur de lis, between three torteauxes. In the south-west window is this legend, Ora p aiabs Willi Smersolle & Margarete uxon is sue & paia Saundir Goldfiynch; above were formerly these arms, A cross impaling on a bend, cotized, a mullet between six martlets. Weever says, p. 274, there was an antient faire monument, whereon the portraiture of an armed knight, crosse legged, was to be seen, and only His jacet remaining of the inscription, and that there was this legend in a window: Orate p aia Willi Tonge & Johannis filii ejus qui banc fenestram fieri fecerunt; he died in 1478, and was buried here. And there was formerly in the windows, a figure of a knight of St. John's, habited in his furcoat of arms, a plain cross, and having his sword and spurs, and kneeling on a cushion, in a praying posture, and in one of the windows were these arms, Quarterly, first and fourth, Azure, a square castle, sable; second and third, Or, on a chevron, vert, three bawks heads erased, argent; on a chief, gules, a cross, argent; but there is nothing of these remaining now.
The rectory of this church was early appropriated to the hospital of St. John, which continued in the possessions of all the profits of it, till the dissolution of the hospital in the 32d year of king Henry VIII. After which it was granted, with the preceptory here, to Sir Anthony Aucher, who sold it to Sir Henry Palmer, in whose descendants it continued down to Sir Thomas Palmer, bart. after whose death in 1725 it passed, in manner as before-mentioned, to the Rev. Dr. Thomas Hey, of Wickham, who sold it, with St. John's, and the rectory as before-mentioned, to Mr. Brydges, of Denton, the present owner of it.
This church is now a perpetual curacy, of the yearly certified value of twenty pounds, which stipend is paid by the owner of the rectory, who has the nomination of the curate. In 1640 here were communicants one hundred and twenty-seven.
Curate, Mayor and Bishop at the laying of the foundation stone, St Peter's, Harold Wood, Wednesday 4 March 2009.
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.
Part of the outstanding scheme of Arts & Crafts glazing in the Lady Chapel at Gloucester, the largest commission ever undertaken by Christopher Whall between 1899 - c1913 (a final half window was added by Veronica Whall in 1926).
Gloucester Cathedral is one of England's finest churches, a masterpiece of medieval architecture consisting of a uniquely beautiful fusion of Norman Romanesque and Perpendicular Gothic from the mid 14th century onwards. Until the Reformation this was merely Gloucester's Abbey of St Peter, under Henry VIII it became one of six former monastic churches to be promoted to cathedral status, thus saving the great church from the ravages of the Dissolution.
The most obviously Norman part is the nave, immediately apparent on entering the building with it's round arches and thick columns (the exterior is the result of Gothic remodelling). Much of the remainder of the building is substantially the Norman structure also, but almost entirely modified in the later Middle Ages inside and out, the result of the great revenue brought to the abbey by pilgrims to the tomb of the murdered King Edward II in the choir. It was this transformation of the Norman church that is credited with launching the late gothic Perpendicular style in England.
The gothic choir is a unique and spectacular work, the walls so heavily panelled as to suggest a huge stone cage (disguising the Norman arches behind) crowned by a glorious net-like vault adorned with numerous bosses (those over the Altar with superb figures of Christ and angels) whilst the east wall is entirely glazing in delicate stone tracery, and still preserving most of it's original 14th century stained glass. The soaring central tower, also richly panelled with delicate pinnacles, is another testament to the abbey's increasing wealth at this time.
The latest medieval additions to the church are equally glorious, the Lady Chapel is entered through the enormous east window and is itself a largely glazed structure, though the original glass has been reduced to a few fragments in the east window, the remainder now contains beautiful Arts & Crafts stained glass by Christopher and Veronica Whall.
The early 16th century cloisters to the north of the nave are some of the most beautiful anywhere, being completely covered by exquisite fan vaulting, with a seperate lavatorium (washing room) attached to the north walk as a miniature version of the main passages.
There is much more of interest, from 14th century choir stalls with misericords to the comprehensive collection of tombs and monuments of various dates, including the elaborate tomb of Edward II and that of Robert Duke of Normandy, eldest son of William the Conqueror. The stained glass also represents all ages, from the 14th century to the striking contemporary windows by Tom Denny.
Further areas of the cathedral can be accessed at certain times, such as the Norman crypt under the choir and the triforium gallery above.
www.gloucestercathedral.org.uk/
My visit coincided with the major 'Crucible' exhibition of contemporary sculpture (September-October 2010), examples of which I will upload in due course.
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.
St. Peter's Archabbey, otherwise St. Peter's Abbey (Stift Sankt Peter) in Salzburg is a Benedictine monastery in Austria. It is considered one of the oldest monasteries in the German-speaking area, if not in fact the oldest.
The present-day Romanesque building at the northern foot of the Mönchsberg was dedicated in 1147. One of the organs had been built on the rood screen in 1444 by Heinrich Traxdorf of Mainz. While the steeple received its onion dome in 1756, the interior, already re-modelled several times, was refurbished in the Rococo style between 1760 and 1782 under Abbot Beda Seeauer by Franz Xaver König, Lorenz Härmbler, Johann Högler, Benedikt Zöpf and others. The high altar is a work by Martin Johann Schmidt. The St. Mary's Chapel contains the grave of Abbot Johann von Staupitz (d. 1524), a friend of Martin Luther.
At the adjacent Petersfriedhof cemetery are buried Wolfgang Amadeus Mozart's sister, Maria Anna Mozart (Nannerl), and Joseph Haydn's brother, Johann Michael Haydn.
Source: Wikipedia
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.
Parish Church of St Peter, Leeds, 1837-41.
Leeds Minster.
Baptistry Window - Patrons' Window, 1856 (detail).
By David Evans of Shrewsbury (1793-1861).
Presented by Thirteen of the Patrons of this Church in the year of Grace MDCCCLVl.
Armorial escutcheons of patrons of the church.
Considering his renown as an outstanding stained glass artist and as a pioneer of Victorian stained glass, it is surprising how little is known about Evans’ life. He was born and christened at Llanllwchaiarn, near Newtown, Montgomeryshire in 1793. He came to Shrewsbury sometime in his early youth where he received his education and in 1808 was apprenticed to John Betton, a Shrewsbury glazier, eventually becoming his partner in 1815. Here Evans was fortunate in working on the ‘restoration’ of many important medieval stained glass windows. It was this experience which gave him the grounding he needed for his later work.
www.buildingconservation.com/articles/david-evans/david-e...
'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.
There has been a church on this site since Medieval times. The current building was consecrated in 1868. The architect was William Jeffrey Hopkins.
The dedication to St Peter ad Vincular (St Peter in Chains) is one of only 16 listed in England by Wikipedia.
Unusual designs for the pulpit and reading desks.
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 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.
Hidden away behind the suburban facades of Hall Green lies a little known gem, St Peter's is one of the most outstanding modern churches in the Midlands and can be found by venturing down a quiet lane that leads between the houses off one of Hall Green's busier roads. Its presence is announced over the rooftops by the slender concrete tower with a striking lattice window and a circular cap at its summit.
The church was opened in 1964 to replace a more modest predecessor and makes a striking architectural statement. Approaching it from the lane reveals an intriguingly formed building with an octagonal nave at its heart, similarly finished in precast concrete and capped by a pleasingly green copper roof. Below is a brick ambulatory that surrounds the nave and from which a substantial chapel and the main sanctuary also erupt, both marked by large expanses of dalle de verre glazing, as are the twelve windows in the upper part of the nave itself. These were what I'd really come to see, but the unusual architecture itself is a reward for meandering this way.
Entry is via the doorway at the base of the tall and slender west tower, and initially there is a sense of subdued light until one becomes accustomed to the level and can then fully appreciate the dazzling richness of the glass. All around the octagonal nave is a series of strikingly non-figurative windows inspired by Middle Eastern prayer-mats, each design different and evoking other times and places in their symbolism of the act of prayer itself, but doing so in a modern idiom. At the east end our eyes are drawn to the largest window in the church situated behind the altar, which is again a work of dalle de verre glass mosaic, but is a figurative composition depicting Christ's call to St Peter. The austerity of the architecture sets the windows off very well.
The windows are rare works (outside his native Alsace) by the artist Tristan Ruhlmann and their style is unlike any dalle de verre glass I've seen elsewhere. Ruhlmann used his own technical wizardry to expand the graphic quality of this otherwise limited medium for pictorial subject matter (dalle de verre windows normally consist of roughly hewn chunks of glass set in concrete, which limits their narrative capacity). In order to work in a more illustrative style, Ruhlmann incorporates pieces of flat glass as well, only using then set on their edges to create lines of coloured light with which he 'draws' *(some are heat distorted to create curves). This is likely a unique use of the medium in England, and deserves to be better known as a highly complex and imaginitive response to the material which remain without imitators.
On the south side is the lady chapel which culminates in another large Ruhlmann window, this time depicting the Nativity across three lights. The chapel is otherwise flooded with light from its remaining clear glazed windows, and is a pleasant place to sit and contemplate Ruhlmann's work.
The church isn't normally open outside of services but is well worth seeing if one can make arrangements to visit. I am hugely hugely indebted to the church's vicar, Reverend Martin Stephenson who kindly agreed to open the church for me after I'd phoned the parish office and spent some time showing me his archive of photos of Ruhlmann's work in France (all of which was previously unknown to me and quite a revelation!). He clearly understands what a special church he has and what a unique individual Tristan Ruhlmann was and I am very grateful for the time he gave me to explore the church and share his passion for its glass.
It was a visit I'll never forget and a church I could easily lose myself in for a lot longer (the acoustics are 'interesting' in there too, quite an echo to every word and movement, I wonder what it is like to sing in there?). Frustratingly my camera was having 'issues' that day, but at least I have a reasonable set of images to show for my visit.
ⓒ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 Square deserves to be the best square in Rome because of the massive interior space it encloses! And those Bernini columns are unbelievable.
St. Peter's Bascilica is believed to be the burial site of Saint Peter, who was one of the twelve apostles of Jesus, as well as numerous popes. There has been a church on this site since the 4th century. Contruction of this bascilica, began in1506 and was completed in 1626. has the largest interior of any Christian church in the world.
AIMG_2510
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.
East Rose Window. London Bells Window. Margaret Edith Aldrich Rope. 1949.
St Mary Le Bow
Not the best images but difficult to photograph and sadly the best I came up with. I was interested to get all the London Bells set.
The two stained glass artists named Margaret Rope were first cousins, granddaughters of George Rope of Grove Farm, Blaxhall, Suffolk (1814-1912) and his wife Anne (née Pope) (29/3/1821-1/10/1882). Neither married: both were baptised Anglicans but died Roman Catholics.
The younger Margaret was the 5th child of Arthur Mingay Rope (himself George and Anne's 5th child: 1850-1945) and Agnes Maud (née Aldrich: 1855-1943). She was born on 29th July 1891 and christened Margaret Edith at St Margaret's Church, Leiston, Suffolk on 25th August. She died in March 1988.
Born into a farming family at Leiston on the Suffolk coast, Margaret Edith Rope found herself among artistic relatives at Leiston and Blaxhall, Suffolk: her uncle, George Thomas Rope, landscape painter and Royal Academician; her aunt Ellen Mary, sculptor; sister Dorothy, also a sculptor. In the family, her nickname was "Tor", for tortoise. She was later to use a tortoise to sign some of her windows.
She was first educated by an aunt and later at Wimbledon High School, Chelsea School of Art and LCC Central School of Arts & Crafts (where she specialised in stained glass under Karl Parsons & Alfred J. Drury).
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.
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.
The open space which lies before the basilica was redesigned by Gian Lorenzo Bernini from 1656 to 1667, under the direction of Pope Alexander VII, as an appropriate forecourt, designed "so that the greatest number of people could see the Pope give his blessing, either from the middle of the façade of the church or from a window in the Vatican Palace"
Cleaning out some older photos.
St Peter Hungate, Norwich, Norfolk
At the time of the 16th Century protestant Reformation, Norwich had 36 parish churches, and many of these buildings survive today. A handful are still in use for the congregational worship of the Church of England, for which they were never designed of course. Others have found uses as concert venues, artist workshops, day centres and offices. Some stand empty, but far more are in use now than were twenty years ago. It is the largest collection of urban medieval buildings in any one city north of the Alps.
Although St Peter Hungate is right in the heart of the urban area, its setting is idyllic, for 16th and 17th Century cottages flank the north and east sides, and then beautiful Elm Hill drops away below it. To the west is the magnificent chancel window of the Blackfriars church, while to the south are grand 19th Century commercial and non-conformist church buildings, full of Victorian confidence. Hungate itself no longer exists, but was formerly 'houndsgate', the street of dogs. In this conservation area the roads are cobbled, and it is an oasis of charm in the middle of East Anglia's biggest city.
St Peter is that rare beast in Norwich, a cruciform church. It looks older than it actually is, for the primitive capped tower is actually a tall 15th Century one that was truncated in 1906 for safety reasons. In fact, the whole church was completely rebuilt during the middle thirty years of the 15th Century. The chancel fell into disrepair after the Reformation, but it was patched back together by the Laudians in the early 17th Century. It is a blessing that they reused the 15th Century windows, and in fact most of the window tracery in the church is still original.
In the 19th Century, St Peter Hungate was one of the highest of Norwich's many Anglo-catholic churches. It was the first to use vestments, the first to use incense, the first to use candles on the altar. However, as with St Simon and St Jude at the other end of Elm Hill, St Peter has long been redundant, last being used as a church before the First World War. When, in the 1930s, the Norwich Society went on their pioneering crusade to save this area of the city, there was a renewal of interest in finding appropriate uses for the old churches, and in 1936 St Peter Hungate became a museum of church furnishings. The fixtures and fittings from other redundant churches were brought here for display, and the collection was augmented by items from the Norwich and Norfolk museums, as well as by other churches wanting to find a safe home for their treasures.
It was a superb museum, at the time the only one of its kind in England. From a church explorer's point of view, it was a priceless resource, for you could read about things, and then go and see them in real life, all in one place: rood screens, bench ends, reredoses, corbels, pyxes and pyx cloths, all at first hand. St Peter Hungate Museum of Church Art lasted until the late 1990s, when a reorganisation of the museum service in Norwich killed it off. All the exhibits were removed, and most went into storage. For nearly ten years, the building was completely empty.
In 2006, a small group of people came together in an attempt to get Hungate open and in use again. Their plan was to use it as an interpretation centre for Norfolk's medieval heritage, with a particular emphasis on the medieval stained glass artists of the city of Norwich. St Peter Hungate is a good place to do this, as it has the best collection outside of the cathedral in the whole city. This glass, largely of the 15th century, is partly from St Peter Hungate originally, and partly a consequence of the medievalist enthusiasms of the 19th Century, when much was collected and brought here. It includes a sequence of the Order of Angels, other angels holding scrolls, the Evangelists, the Apostles, and much else besides.
There are squints into the transepts, and image niches in the east walls of both. The south transept, which was a chapel for the guild of St John the Baptist, was the burial place of Sir John Paston. High above, the corbels to the roof are finely gilded, depicting the four evangelists, St Matthew, St Mark, St Luke and St John, and the four Latin Doctors of the Church, St Augustine, St Ambrose, St Gregory and St Jerome. This is the only known example of these eight Saints as roofpost stops. There is a central boss of Christ in Judgement.
The fixtures and fittings of the new Hungate Centre are much less intrusive than those of the old museum, allowing a sense of space and light. Display cases down the sides of the nave explain and interpret the history of Norwich's stained glass industry, and between them are the lovely benches from Tottington, which I had last seen marooned within the fences of the Battle Training Area. There are temporary exhibitions which use the transepts and chancel, and regular activities for adults and children.
If you go out through the north door, you find yourself in the former graveyard, now a pleasant garden overlooking the rooftops of Elm Hill. The 15th century building immediately to the north, now a restaurant, was once a beguinage, a retreat house for nuns. The lawn is surrounded by lavender and rosemary, and it is all very well kept. All in all, this beautiful space, now once again in safe hands, is much to be celebrated.