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After climbing to the top of the main dome of St. Peter's Basilica on the right, I shot this from the actual rooftop of the basilica, while exiting down from the basilica's observation deck.
© Mitch Ridder Photography - All Rights Reserved 2013.
The keys of Heaven - the attribute of St Peter in one of the stained glass windows of All Saints church in Campton. The St Peter window is paired with one showing St Paul with his sword.
St. Peter's Episcopal Church
Sheridan, Wyoming
Listed on 5/8/2013
Reference Number: 13000266
St. Peter's Episcopal Church is eligible for listing in the National Register of Historic Places for under criterion C for its local significance in architecture. It is one of only a few churches remaining in Sheridan designed in the Gothic Revival style, and is one of the finest examples of the style found in the city. The building was completed in 1912 with additions built in 1958. The original portion was designed by architect Edward Ellsworth Hendrickson of the Frank Miles Day firm in Philadelphia. The building is a notable example of English Gothic Revival architecture in Sheridan, Wyoming. It features a stone foundation, arched stained glass windows, engaged buttresses, parapet walls, and a grand tower. The interior is distinguished by darkstained woodwork, decorative beams with carved dentils, and original oak pews. Stained-glass windows designed by the prominent Charles Connick Studio of Boston were added beginning in 1958. Connick was a well-known and prolific designer of stained-glass windows, however St. Peter's is one of only three churches in the state of Wyoming known to contain windows produced from his studio.
National Register of Historic Places Homepage
St.Peter's, South Weald, is a large parish church which seems out of place in the small village that is South Weald today. It was formerly the parish church of nearby Brentwood and also formerly served the Harold Hill area.
www.flickr.com/photos/barryslemmings/sets/72157594283793202/ is a whole set about this church,
A principal landowner is the area in Saxon times was King Harold, killed at Hastings in 1066. The present church dates from the 12th century at least when it had a nave and chancel on the site of the present south aisle. The north aisle was added in the 13th century and the tower was built at the beginning of the 16th century. An extensive rebuilding took place in 1868 to the plans of architect S. S. Teulon. The north aisle was converted into the nave and chancel.
The font dates to 1662 and has a finely carved cover of later date. From 1868 until 1946 the Tower family of nearby Weald Hall [now demolished] had a private chapel in the church but this was converted into a war memorial and marks the death [among others] of two members of the Tower family in WW1.
The family kept a deer park from which the deer escaped in WW2 and took up residence in the area. The Tower family's interest in deer is marked by a stained glass window dedicated to the hunter saint, St Hubert. There is some 15th century Flemish glass high up in the tower but the rest is Victorian or later.
St Peter, Port Isaac, Cornwall.
Window (detail : signature) by Jones & Willis.
The company was originally founded in Birmingham in the 18th century, primarily as a supplier of cloth for ecclesiastical purposes. In 1844 the Willis family re-founded it as a manufacturer and supplier of church fittings, initially known as Newton, Jones and Willis. Later in the 19th century the firm grew, and had workshops in London and a branch in Liverpool. Metalwork, sculpture and stained glass were added to the company’s products and in 1899 they described themselves as ‘Church furnishers to Her Most Gracious Majesty’. They were still active in the 1940s. Their glass was made at their London showrooms under the management of Walter Willis. Most designers were anonymous, though FE Howard did some work.
Canon Eod 40D + Sigma 10-20mm
St Peter's Seminary, Cardross, Scotland, 2008
www.hiddenglasgow.com/StPeters/index.htm
The massive concrete husk of St Peters Seminary can be discovered being slowly consumed by vegetation, weather and the local young teams in the woods behind Cardross Village. It is reached after a long walk up a rhododendron lined track that takes you behind the golf course, you might start to wonder if you are ever going to find it or if perhaps its been demolished and you are too late, but persevere and you will round the corner to come face to face with an A-listed architectural masterpiece.
It was commissioned by the Archbishop of Glasgow in 1958 and completed in 1966 serving time as a teaching college for the catholic church before being closed in 1980. It was designed by architects Isi Metzstein and Andy McMillan, who ran Gillespie, Kidd and Coia. It is a modular concrete structure, and is considered to be a good example of collegiate buildings from the 1960s. It was awarded the Riba architecture award in 1967 but as Historic Scotland notes: “It has been systematically vandalised and is now reduced to a ruinous skeleton.”
So far no purchaser has been found and , nor has a scheme been put forward that could give it a new use - it seems set to be slowly eaten away by the elements. One current suggestion is that it should perhaps become the first stabilised and protected 20th-century ruin. Meanwhile it is a mecca for those who love the architecture and for those who merely enjoy the spectacle of a car park like building in the middle of beautiful woodland.
St Peter's was bombed in the Bristol blitz of 1940. It's ruin now stands as a memorial to the city's civilian war casualties.
DAYLESFORD
St Peter *
Immaculate Pearson interior
Unfortunately we found the church locked. There was an apologetic notice saying that it was now a requirement of the insurers that it should be kept locked.
The church seems at first sight a gloomy Victorian conceit, poking an urban nose over the fields of the Daylesford estate. Yet it is one of Pearson's most perfect small works, built in 1859-63 for Harman Grisewood, successor to Warren Hastings as owner of the big house. Like Pearson's Scorborough (Yorks, ER), which was being built at the same time, the church is a bold design in the French Early Gothic idiom. It is built on a cruciform plan, with diminutive chancel and transepts round a massive central tower with a sturdy pyramidical spire. To the north is a Plate tracery window in the nave and a wheel window in the transept. Equal care is taken with the smaller decorations.
The interior, at least on a sunny day with light filtered through the windows, has the character of a dark and mysterious jewel box. The stained glass is by Clayton & Bell, as vivid and confident in style as the work of the Morris.
(Simon Jenkins: England’s Thousand Best Churches)
In the way to my hotel, from my night photoshoot in Rome I walked by a trafficed intersection in front of St. Peter's Basilica. After some takes I got this photo which I am pleased with.
5 sec, f/16 and ISO 200. Used my Nikon D40 and Sigma 10-20mm F4-5.6 EX DC HSM.
St. Peters Square in the beautiful blue sky of sunset
SEE FILM AND STILLS COMPILATION ON YOUTUBE: www.youtube.com/watch?v=UW32ftb809M
St. Peter’s Basilica in Vatican City, begun by Pope Julius II in 1506 and completed in 1615 under Paul V. It is designed as a three-aisled Latin cross with a dome at the crossing, directly above the high altar, which covers the shrine of St. Peter the Apostle.
St. Peter’s played host to Pevensey in a first team match in the East Sussex Cricket League on 23 July 2011. The visitors won the toss and elected to bowl first. St. Peter’s scored 190 and then succeeded in bowling out Pevensey for 138 in 38.3 overs.
St Peter's at Leire is one of those churches that beckons you towards it with its medieval steeple only to reveal that's this tower and spire are the only part of the ancient building left since the Victorians decided on a fresh start for the rest! This did occur at quite a few of the south Leicestershire churches (and of course many others elsewhere besides), and it is better to have kept the most prominent part visually than retain nothing of the medieval building at all!
The sturdy tower dates back to the 14th century whilst the remainder (chancel, nave and north aisle) were rebuilt in 1867-8 by William Smith (who around the same time similarly transformed churches nearby at Gilmorton and Shawell).
Inside the church is is of course a complete Victorian piece aside from the tower-base at the west end (which has 18th century memorial tablets flanking its arch). It is a fairly standard affair with several examples of glass of the period (that in the east window however is unusually purely non-figurative). The font is quite a pretty example of the period with carved panels in relief.
Leire church is usually kept locked outside of services. This was my second visit, both being on Heritage weekends in September (the best day for churchcrawling in this area!).
For more information see its entry on the Leicestershire Churches site below:-
West window in St Peter’s Chapel.
One of only two windows to survice the World War II bombing.
From left to right:
Jesus telling the deciples to cast their nets for a large catch.
Jesus walking on the water and Peter sinking.
Jesus calms the storm.
To the Glory of God and in loving memory of Eliza Leaper who died 28th August 1900 aged 68, and of William Leaper who died 28th May 1903 aged 71.
St Peter, Lindsay
Ash Street in Lindsay, Cooke County, Texas (33°38′9″N 97°13′35″W)
Roman Catholic Church
Neo-Romanesque Church
Frank A Ludewig, architect (Dutch)
Fridolin Fuchs, artist (Swiss)
Arthur Weinman Architects, 2010-2011 Restoration
1892, church organized
1903, previous church constructed
1917-1918, current church constructed
1970, Recored Texas Landmark
1979, National Register of Historic Places
1983, Churches with Decorative Interior Painting TR
2010-2011, Restoration
2012, AIA Fort Worth Design Awards
2013, Historic Fort Worth Preservation Award Winner
Texas Historical Commission Marker Text:
Organized 1892. Present church was erected in 1918 to replace structure destroyed by cyclone. Lindsay settlers, Germans whose lives centered in the church, furnished much manual labor for the building and saved old windmill towers to be used as reinforcements in concrete. The interior is lavishly decorated with unusual frescoes, stained-glass windows, and carved altars. Swiss artist was Fridolin Fuchs. Architecture is neo-Romanesque. Recorded Texas Historic Landmark--1970.
atlas.thc.state.tx.us/viewform.asp?atlas_num=5097005077&a...
www.historicfortworth.org/Home/2013PAwards/tabid/1372/Def...
Churches with Decorative Interior Painting TR
St. Peter's Basilica, in Vatican city at night. A large part of St. Peter's Square is visible along with the Eygptian Obelisk known as Vaticano.
Coughton is a real treat for the church crawler; not only is it's fine medieval church situated next to the impressive facade of Coughton Court it is also has an attractive Victorian RC church as it's neighbour to the south (built for the Court's owners, the Throckmortons, who being Catholic needed another church!). Best of all both churches are kept open for visitors (and unlike the Court don't charge hefty entrances fees!).
St Peter's is easily one of the most rewarding churches in the area, a late medieval building with much of interest within. The monuments are not of the finest quality but worth seeing, but my favourite pieces here were the fragments of late medieval/early Renaissance stained glass in the traceries of the chancel windows, fine quality and obviously the work of Flemish glaziers, tantalising tiny glimpses of what we've lost. The east window has more substantial remains with three female figures in lavish costume, but all their heads look like Victorian replacements by Hardman's. There are earlier fragments in some nave windows and by contrast little Victorian glass (keeping the interior light), a dull Hardmans piece on the north side and a much finer Powells window sadly difficult to see in the tower.
There are substantial elements of late medieval woodwork in the chancel, fairly plain and easily missed, but the four figure carvings are worth seeking out.The large Throckmorton tomb beside the altar tempts one to step over the altar rails for a closer look, though this can be tricky as with a steady flow of visitors to the neighbouring Court one is rarely entirely alone in here!
St. Peter's in preparation for the Canonizations on October 17th!
Photograph by: Steven Scardina _MG_8274
St Peter, Lindsay
Ash Street in Lindsay, Cooke County, Texas (33°38′9″N 97°13′35″W)
Roman Catholic Church
Neo-Romanesque Church
Frank A Ludewig, architect (Dutch)
Fridolin Fuchs, artist (Swiss)
Arthur Weinman Architects, 2010-2011 Restoration
1892, church organized
1903, previous church constructed
1917-1918, current church constructed
1970, Recored Texas Landmark
1979, National Register of Historic Places
1983, Churches with Decorative Interior Painting TR
2010-2011, Restoration
2012, AIA Fort Worth Design Awards
2013, Historic Fort Worth Preservation Award Winner
Texas Historical Commission Marker Text:
Organized 1892. Present church was erected in 1918 to replace structure destroyed by cyclone. Lindsay settlers, Germans whose lives centered in the church, furnished much manual labor for the building and saved old windmill towers to be used as reinforcements in concrete. The interior is lavishly decorated with unusual frescoes, stained-glass windows, and carved altars. Swiss artist was Fridolin Fuchs. Architecture is neo-Romanesque. Recorded Texas Historic Landmark--1970.
atlas.thc.state.tx.us/viewform.asp?atlas_num=5097005077&a...
www.historicfortworth.org/Home/2013PAwards/tabid/1372/Def...
Churches with Decorative Interior Painting TR
St Peter Parmentergate is a large and impressive mainly fifteenth century church in a quiet somewhat neglected area south of Norwich City Centre. It comes as no surprise to find it is no longer used as a church, though services continued as late as the 1980s.
The nave of the church is currently used as a martial arts gym ( a session of which was in full flow when I visited); whilst this may seem rather incongrous it does at least allow the interior to remain more or less intact without the subdivision many conversions to new use involve.
The chancel remains complete with most of it's furnishings and monuments, most important being the large Berney tomb from 1623 in the south east corner, an impressive Jacobean monument with effigies, mostly boxed in when I visited but since fully restored. The east window has early glass by Alexander Gibbs 1861 in rather harsh colours.The fine medieval font remains at the west end of the nave but was also boxed in for protection.
An unusual feature here is the two storey extension east of the chancel, the former sacristry added in the early 16th century.
For more see Simon Knott's superb website below:-
www.norfolkchurches.co.uk/norwichpeterparmentergate/norwi...
Also on Norwich Historic Churches Trust's website:-
www.norwich-churches.org/St%20Peter%20Parmentergate/home....
Church Street Towards St Peter's Church, Mansfield. View east. Showing shops 'Beauty Margo Salon' 'H.Boole' 'Hawthorne' and 'Willson and Ward'.
For more images see Picture the Past
St Peter's Church, in Castle Park, Bristol, was gutted during the Blitz in WWII. After the war, it was left as a memorial to the war and to those Bristolians who died in it. The entire park has been developed into a peace and memorial park around it.
St.-Peter-Ording, Canon EOS 5D Mark III, Canon EF 17-40mm/4.0 L USM, Schwarzweiß-Konvertierung mit Lightroom-Vorgabe 'Orange-Filter'
St Peter's church in Ludlow serves the local Catholic community and stands some distance from the centre of the town. It is a striking piece of architecture, stylistically influenced by Italian Romanesque and Byzantine churches forming a tall mass surmounted by a dome with rounded apse and transepts. This monumental edifice was designed by Giuseppe Rinvolucri and built in 1935, opening the following year.
The interior of the church shows an ambitious use of space, the short narrow nave opening into the vast crossing space and apses beneath the dome which is the main focal point of worship here. The first thing one notices aside from the impressive scale is the whiteness of the interior finish, it is beautiful but a little austere, since originally it was intended to adorn the walls with marble and mosaic but sufficient funding for this was not forthcoming. The dome however introduces some welcome colour with its blue finish punctuated by a few stars.
The church possesses stations of the cross from the identical models as those in my own church back home, but the most significant piece of art here is the stunning west window oculus by the Earley Studio of Dublin, a shimmering Madonna & Child in gorgeous shades of deep blue and pink, worth coming to see on its own.
The church is open for a couple of hours on certain mornings following mass.
taking-stock.org.uk/Home/Dioceses/Diocese-of-Shrewsbury/L...
St. Peter’s played host to Pevensey in a first team match in the East Sussex Cricket League on 23 July 2011. The visitors won the toss and elected to bowl first. St. Peter’s scored 190 and then succeeded in bowling out Pevensey for 138 in 38.3 overs.
A hat-trick and the bowler celebrates as St. Peter's are reduced to 2 for 3.
St Peter's is a rebuilt Tudor church that was dedicated in 1517, the year of Luther's Articles. It must rank among England's last medieval churches before the Reformation. Its patron was Sir Edmund Tame, whose father built St Mary's, Fairford.
The exterior is conventional Perpendicular, with heavy battlements and tower pinnacles, and the churchyard contains a display of chest tombs.
Inside, the 12th century font of the Herefordshire School has twelve apostles - or rather eleven with one left blank for Judas. Another, later, font stands by the pulpit.
Rendcomb comprises a nave with south aisle, divided by an arcade with concave-sided octagonal piers, similar to Northleach and Chipping Campden. Buried in the north wall are the remains of an Early Gothic arcade to a lost north aisle, three piers revealed in the plasterwork.
There is no division between nave and chancel, but the chancel roof is distinct, of Victorian sycamore. The rood screen was also a Victorian concoction, using parts of an old screen and with a frieze of cast iron. This structure straddles the chancel and south chapel. The latter has an iron altar rail with the chained swan emblem of the Guise family, who succeeded the Tames as lords of the manor.
Of interest are the corbels, those in the south aisle carved with angels playing instruments and holding heraldic shields.
The east window glass is unremarkable but some 16th century glass survives in the north windows. It has early Renaissance forms which imply a different designer from Fairford, and a later date of c.1520.
South aisle: angel corbel holding a banner. Repainted in Victorian times, replacing the original Latin with English phrases
14th century glass in the south aisle of York Minster. Most of the nave aisle windows retain their original 14th century glazing, with each window following a similar layout with six main narrative panels within canopies. Much of the glass however is seriously patched and confused by damage and successive repairs over the centuries.
York Minster is England's largest medieval cathedral and almost impossible to do justice to. It has an awesome presence that cannot fail to impress.
Uniquely the cathedral was spared the ravages of the Civil War that decimated the medieval art of most English cathedrals and churches, and it thus possesses the largest collection of medieval glass in Britain throughout most of it's vast windows.