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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 Seminary In Cardross Near Helensburgh designed by Gillespie, Kidd and Coia in the 1960's has been slowly vandalised and submitted to the elements over the past 20 years.
St Peter's at Church Knowle, Isle of Purbeck in Dorset is a dainty 13th century church but it is likely the site dates back much further as 'Cnolle' is Saxon for a hill. I found it during my holiday in 2010 but I only rediscovered the church guidebook tonight while clearing out tons of old documents. I could thus write a reasonable caption story at last.
www.flickr.com/photos/barryslemmings/sets/72157631444014958/ to see the full set.
The surviving list of rectors dates back to Robert Michel in 1327 but two of these had remarkable records of service - Isaak Chapman was rector of 65 years in the 18th century while John Richards was rector for 52 years from 1781.
Until the 19th century the church was a perfect cruciform plan with a chancel, nave, western tower plus north and south transepts but between 1833 and 1841 the north wall of the nave was demolished and moved out to the line of the end of the north transept. This area was also adapted to take a first storey gallery with box pews.
The nave and the chancel are divided by a stone mural screen, one of eight known to remain in Dorset. In the south transept are parts of two stone coffins thought to be 13th or 14th century.
A substantial monument with brasses remains in what was once the north transept to John Clavell Esq who died in 1609 and his two wives, Myllicent who died in 1571 and his second wife Susan who died in 1618. The actual tomb was ordered and built the year after Myllicent died.
C14 aisles; Henry VIII arms outside on buttress on East wall (not in photo).
In the time of Cardinal Wolsey, this served as the chapel to his college.
Aisles lengthened in 1878 by Scott; upper part of tower rebuilt in 1881.
The church was empty and disused for years but is now developed as an arts venue.
Ipswich Hospital Band use the church as their headquarters. The West door gateway was commissioned by them. Note the fish.
More info at:
More than 600 brave souls took the Plunge in St. Peter on February 7, 2015 to support Special Olympics Minnesota. These Plungers raised $100,000! Photo taken byJoy Tate
St Peter Hungate sits in the attractive historical setting of Elm Hill, an enclave of tradition in the modern city. It is a largely 15th century cruciform building without aisles with a truncated west tower, now capped by a pyramid roof.
The church has been redundant since the 1930s, and was converted to use as a wonderful museum of medieval church art, displaying furnishings and artefacts from other redundant churches, complemented by this beautiful and authentic setting. Sadly this museum was closed in the late 1990s during a reorganisation of local museum services. The contents were put into storage and the church left closed and empty.
This was the first time I'd been in after this change of status, having visited the museum on a couple of previous occaisions. The difference was immediately apparent, a stark empty interior where the former display cabinets had been. The only old furnishing remaining is the ancient font, though there are also many good fragments of late 15th century stained glass in the east window and the traceries of several others.
Since this last visit in 2006 the church has been revived in a similar role to it's days as a museum as the Hungate Centre for Medieval Art, focussing on the art of stained glass.
For more information on the church prior to this see Simon Knott's entry on his Norfolk Churches website below:-
www.norfolkchurches.co.uk/norwichpeterhungate/norwichpete...
St Peter's church at Kinver stands in a commanding position on high ground overlooking the town below from Kinver Edge. It is an impressive red sandstone building dating back to the 14th century but much altered in the following centuries, with large chapels flanking the chancel added in the Tudor period and a north aisle built as recently as the 1970s.
The interior is equally imposing with styles both ancient and modern, the new north aisle being a particularly successful addition, surpising to see such a clearly contemporary feature so at ease with its medieval surroundings. The furnishings and glass are mostly of the Victorian period though there are several earlier elements of note and a particularly striking canopy/lantern in the south aisle, uniquely composed of stained glass panels.
The church is normally kept locked except for Friday and Saturday mornings, but visitors on the latter will be made very welcome (as I was) on the tea and coffee morning, and indeed one would be hard pushed to think of a nicer setting for one.
One St Peter's Square is a high rise office building in Manchester, England. It is situated in St. Peter's Square in Manchester city centre.
Oxford, Mississippi
Constructed in 1851 and listed on the National Register of Historic Places.
Marker:
Auf dem Bild ist die Kirche St. Peter in Kettwig zu sehen. In der Villa davor ist wohl einer der schönsten Kindergärten überhaupt untergebracht. Die Kids haben nicht nur tolle Räumlichkeiten, sondern auch einen Panoramablick auf die Ruhr.
Als ich das Foto aufgenommen habe, sind zwei Ruderer gekommen und haben ein Boot zu Wasser gelassen. Etwas davon kann man erahnen.
Exposure: 88 sec
Aperture: f/18 (max f1.4)
Focal Length: 50 mm
ISO Speed: 100
B+W 110
St Peter's church at Gaulby is one I'd long wanted to see ever since being intrigued by seeing a photo of that distinctive 18th century tower crowned by those bizarre spiky pinnacles (a unique fusion of Baroque, Gothic and Chinese elements in terms of design!). It took me a long time to finally see it for myself, but seeing that tower basking in the sunshine was a sight that didn't disappoint.
The medieval church here was mostly rebuilt in 1741 (under the direction of William Fortrey who later had neighbouring King's Norton church similarly replaced) with John Wing the Elder of Leicester as architect. The old chancel remained more or less unaltered but remarkably the nave was rebuilt in a sympathetic style, and with its tall Perpendicular-style windows it could easily be mistaken as late medieval work. This approach however changed radically in the building of the tower at the west end, which is entirely Baroque in character more typical of its age, aside from the fact it is crowned with four of the most fanciful pinnacles ever conceived, the effect akin to a Gothic parapet crowned by mini-pagodas at the corners! It is a unique design and something really rather special.
The interior by contrast lacks the excitement of the exterior, it is quite an austere space and has lost its 18th century furnishings to 20th century re-ordering (the attractive baluster font however remains). The old chancel beyond seems by contrast dark and mysterious, largely thanks to some of the windows having been blocked in and the east window containing a rich display by Burlison & Grylls, the only stained glass in the church (though actually the first coloured window I'd seen on this trip!).
Gaulby church (also called 'Galby in Pevsner) used to be open for limited times during Summer pre-Covid but I'm not sure of the arrangement now. I feared another 'porch only opening' upon my arrival here as the register for Ride & Stride was set up ready in there, but happily a note on the inner door claimed 'it was safe to enter here' and the door yielded accordingly, making me very happy as it was the second of my 'must see' churches on this itinerary.
St.-Peter-Ording, Canon EOS 5D Mark III, Canon EF 17-40mm/4.0 L USM, Schwarzweiß-Konvertierung mit Lightroom-Vorgabe 'Orange-Filter'
5th September 2008 St Peter Claydon Suffolk
The badge from Charles Frederick Harvey's grave.
Friday, 5th September 2008, Claydon, Suffolk.
Nearly 400 people took the Plunge on Feb. 12, 2011 as part of law enforcement's St. Peter Polar Bear Plunge for Special Olympics Minnesota. Photo by Michelle Lindstedt.
I like Bridge, I like the name, even if the bridge over the Nailbourne takes some finding.
Again, the main road between Dover and London used to pass through the village, but the A2 now curves pass it, so the long main street is quiet, if jammed with parked cars. It is also blessed with two good pubs and a fine country butcher.
St Peter stands on the hill to the east of the town, as the old road heads up to the downs on its way to the coast.
St Peter was Vicotianised, but the work did preserve much of what was old including a trimpium and a oddly truncated tomb where the middle section of the body is missing.
Windows seems to be in threes, echoing the Holy Trinity I guess, and the church has a fine rose window in the south chapel.
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LOCATION: Situated on Upper Chalk (just above the Nailbourne floodplain) at about 90 feet above O.D. with the main Roman road to Dover immediately to the north-east. Bridge Place is about a ¼ mile to the south-west, and its mother-church of Patrixbourne is about ¾ miles to the north-east. Canterbury is just under 3 miles to the north-west.
DESCRIPTION: Unfortunately the church was disastrously over-restored in 1859 by Scott (John Newman, B.O.E. (N.E. and Kent 3rd ed. 1983), 159, says it was 'done with grotesque insensitivity'). However, with the help of Glynne's description (of 1846), and various early 19th century views, as well as the few surviving medieval features, it is possible to work out something of the architectural history. Externally it has been completely refaced with heavy knapped flint, and Bathstone dressings, but the core of all the main walls, except the Vestry on the north-east and the tower stair-turret must be medieval. The west end of the north aisle also appears to have been extended westwards in 1859.
There had been an earlier small-scale repewing in 1836, followed by a restoration by Scott in 1857. The complete rebuilding took place in 1859-60, with most of the money coming from Mrs Gregory of Bridge Hill.
From the surviving remains, there is no doubt that the nave, chancel, south aisle and tower-base all date from the 12th century. It is also possible that the nave itself dates from the late 11th century, but there is no visible evidence for this. The west doorway to the nave is of a mid- to later 12th century date, and unlike virtually everything else on the outside of the church was not totally renewed in 1859. There is a decorated round-headed archway with water-leaf capitals, and much original Caenstone survives. The internal north jamb to the doorway is also mostly of original diagonally-tooled Caenstone blocks. On the north-east side of the chancel is a round-headed (c. mid-12th century) window, which was unblocked in 1859. Glynne in 1846 refers to two 'closed' windows on the north side of the chancel, and 'on the south a fine doorway and two windows, now closed; the former has fine chevron mouldings'. This doorway was reset on the east side of the north-east vestry in 1859, but its fine chevroned arch, over scalloped capitals, is still visible as an entrance to the vestry lobby. The south aisle and south-west tower seem to have been added in the later 12th century. The arcade had already gone by 1846, but part of a respond (with nook-shafts) still survives at the extreme east end. Just beyond this, in the east wall, a fragment of the north jamb of a 12th century window survives. This south aisle had a low southwall until 1859, and its steep-pitched roof continued the line of the main nave roof. The tower at the west end of this aisle has 1859 round-headed arches, on the north and east in a 'decorated Romanesque' style (? designed by Scott). Glynne tells us that originally they were 'very rude semicircular arches'. The south and east windows into the ground floor of the tower may be based on earlier 12th century ones.
During the earlier 13th century, a north transept chapel and north aisle were added. Glynne tells us that 'the north aisle is very low and narrow, divided from the nave by three rude pointed arches with large wall piers having no capitals or impost mouldings'. The pointed arches survive, though a fourth has been added on the west, as well as three extraordinary double piers. The eastern respond is mostly original, however, with bar-stopped chamfers. Another original arch (with bar-stopped chamfers) divides the north aisle from the north-east transept chapel. Glynne also says that there was a lancet at the west end of this aisle. The north-east chapel still has a pair of original lancets on the north (restored externally), and earlier there was apparently a hagioscope from this chapel into the chancel. The upper stage of the tower may be 13th century.
The one later medieval feature that survives is the 3-light early perpendicular window in the west wall of the nave. This too still contains quite a lot of original masonry, and may date from the late 14th century. The 2-light east window, now rebuilt, was probably early 14th century ('poor Middle Pointed' according to Glynne). The early 19th century views show a pair of two-light late perpendicular windows with square hoods on the south side of the chancel.
The chancel still contains some early 16th century fittings, and a roodloft was documented as being made in 1522 (see below). On the north side of the sanctuary are two low rectangular niches which contain the two halves of the effigy for Macobus Kasey (ob. 1512). Above and just to the west of this is some relief sculpture (also ? early 16th century) in a tympanum panel. Was this set originally inside a 12th century doorway? Above this is an early 17th century painting of Robert Bargrave (ob. 1649). On the chancel south wall (at the west end) are fragments of a relief memorial to a vicar, Malcolm Ramsey (ob. 1538). He was vicar of Patrixbourne and Bridge for 44 years. These include part of an inscription.
The tower appears to have been given brick south-east and south-west buttresses in the 17th or 18th century. These were removed in 1859 when a south-east stair-turret was added to the tower. This was apparently restored in 1891.
BUILDING MATERIALS: (Incl. old plaster, paintings, glass, tiles etc.): Virtually the whole of the church has Bathstone dressings, with heavy knapped flint on the exterior. Some 12th century and later Caenstone does, however, survive.
EXCEPTIONAL MONUMENTS IN CHURCH: - see above
CHURCHYARD AND ENVIRONS:
Size, Shape: Large Rectangular area around with church, but with the north-east side cut off by the main (Roman) road to Dover (Bridge Hill). Large new extension to the south - ? Late 19th century.
Condition: Good
Apparent extent of burial: Burial in churchyard from at least 1474.
Boundary walls: To road on north-east, with gateway with brick piers and iron arch.
Ecological potential: ? Yes - many fastigiate yews (and other trees) in southern part of churchyard.
HISTORICAL RECORD (where known):
Earliest ref. to church: 13th century.
Late med. status: Vicarage (with Patrixbourne).
Patron: Goes with Patrixbourne church to which it was a chapel. After the Reformation, the patron was the owner of nearby Bifrons.
Other documentary sources: Hasted IX (1800), 289-290. Test. Cant. (E. Kent, 1907), 35-6 mentions the Holy Cross (Rood) light, as well as lights of Our Lady, St. Nicholas, St. Erasmus, the Trinity, St. Loye, St. Trunion, as well as St. Peter (? in the chancel). The Eastern Sepulchre mentioned in 1535, and 'the painting of the High Cross in the Roodloft in 1504 - also 'to the making of the Roodloft, 1522'.
SURVIVAL OF ARCHAEOLOGICAL DEPOSITS:
Inside present church: ? Good, except under east end of south aisle, where there is a sunken boiler house.
Outside present church: Good, but perhaps disturbed by the 1859 refacing and rebuilding.
Quinquennial inspection (date\architect): MAY 1993 A. CLAGUE
ARCHAEOLOGICAL AND HISTORICAL ASSESSMENT:
The church and churchyard: A 12th century nave, chancel, south aisle and south-west tower base, with an added earlier 13th century north aisle and north-east transept chapel, which was very heavily restored and refaced externally in 1859-60.
The wider context: One of a group of medieval parish churches, which was technically only a chapel-of-ease (to Patrixbourne, in this case).
REFERENCES: For the vicars, see W.A. Scott Roberton 'Patricksbourne church, and Bifrons' Arch. Cant. 14 (1882), 169-184. (A list of vicars, by T.S. Frampton (1900) is on the S.W. side of the nave). S.R. Glynne Churches of Kent (1877), 131-2 (he visited in 1846).
Plans and early drawings: Petrie view from S.W. in 1807, and views from S.W. and S. in 1828 in Victoria and Albert Museum. Also view of church from S.W. in oil (? early 19th cent.) and Watercolour of church from S.E. (June 1869) in the vestry and plan of graveyard (new part) in 1942 (also in vestry).
DATE VISITED: 21st February 1994 REPORT BY: Tim Tatton-Brown
www.kentarchaeology.org.uk/01/03/BRI.htm
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BRIDGE
LIES the next adjoining parish to Patrixborne southward, being written in old deeds, Bregge, and taking its name from the bridge, which was antiently over the stream which crosses it. This parish was in early times so considerable, as to give name both to the hundred and deanry in which it is situated.
IT IS SITUATED about two miles and an half eastward of Canterbury, on the high Dover road, formerly the Roman Watling-street way, which appears high and entire almost throughout it; in the valley on this road stands the village of Bridge, with the church and vicarage in it, a low moist situation, the bourn or stream of the Little Stour crossing it under a stone bridge, built a few years ago by the contributions of the neighbouring gentlemen. At a small distance southward is Bridge place, now inhabited by lady Yates, widow of the late judge Yates, and of Dr. Thomas, late bishop of Rochester. The hills, form which there is a most pleasing prospect, are wholly chalk, as are in general the other upland parts of it, towards the south especially, where the country is very barren, with heathy ground and woodland, and much covered with stones. In this part of the parish is Gosley wood, once belonging to St. Augustine's monastery, afterwards granted to Thomas Colepeper, esq. It belongs now to Mr. Beckingham.
The MANOR OF BLACKMANSBURY, alias BRIDGE, claims over the greatest part of it, and the manor of Patrixborne over that part of this parish on the north side of the Dover road. There are two boroughs in it, viz. of Blackmansbury and of Bridge.
The MANOR OF BLACKMANSBURY, alias BRIDGE, was parcel of the possessions of the abbey of St. Augustine, belonging to the sacristie, as appears by the registers of it, in which frequent mention is made of this manor, with the free tenants belonging to it, in Honpit, Rede, and Blackmansbury. In which state this manor continued till the suppression of the abbey in the 30th year of king Henry VIII. when it came into the king's hands, (fn. 1) where it remained till the 36th year of that reign, when this manor, with divers lands in Houndpit and Blackmanbury, was granted to Henry Laurence, to hold in capite by knight's service, and he that year held a court here; and in his descendants it continued till the 18th of queen Elizabeth's reign, when it was alienated by fine levied, by John Laurence, to William Partherich, esq. whose arms were, Vaire, argent and sable, on a chief of the second, three roses of the first. His grandson Sir Edward Partherich, of this place, passed it away in 1638 to Sir Arnold Braems, descended of a family originally out of Flanders, where his ancestors were opulent merchants. Jacob Braems, his ancestor, was of Dover, merchant, and built the great house now the Custom house there, where he resided. Sir Arnold Braems above-mentioned, bore for his arms, Sable, on a chief, argent, a demi lion Tampant, gules. He built a spacious and magnificent mansion on the scite of the antient court-lodge here, which he named BRIDGE-PLACE, in which he afterwards resided, as did his son Walter Braems, esq. till his death in 1692; but the great cost of building this seat so impoverished the estate, that his heirs, about the year 1704, were obliged to part with it, which they did by sale to John Taylor, esq. of Bisrons, who soon afterwards pulled down the greatest part of this mansion, leaving only one wing of it standing, the size and stateliness of which being of itself full sufficient for a gentleman's residence, cannot but give an idea of the grandeur of the whole building when entire. He died in 1729, since which this manor and seat has continued in his descendants, in like manner as Bisrons abovedescribed, down to his great-grandson Edward Taylor, esq. the present possessor of them. There is not any court held for this manor.
BEREACRE, now called Greatand Little Barakers is another manor in this parish, which in the 21st year of king Edward I. was in the possession of Walter de Kancia, as appears by an inquisition taken that year, at his decease; not long after which it has passed into a family of its own name. After this name was become extinct here, it came into the possession of the Litchfields, who owned much land about Eastry, Tilmanstone, and Betshanger, and in this name it continued till the 22d year of Edward IV. and then Roger Litchfield passed it away to Richard Haut, whose only daughter and heir Margery carried it in marriage to William Isaac, esq. of Patrixborne, from whose descendant Edward Isaac, about the latter end of king Henry VIII. it was sold to Petyt and Weekes, who joined in the sale of it to Naylor, of Renville, from which name it was alienated to Smith and Watkins; after which it was conveyed by sale to John Taylor, esq. of Bisrons, in whose descendants it has continued down to Edward Taylor, esq. the present owner of it.
Charities.
SIR HENRY PALMER, of Bekesborne, by will in 1611, gave 10s. to be yearly paid out of his manor of Well-court, towards the relief of the poor of it.
The poor constantly relieved are about eighteen, casually the same.
BRIDGE is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of its own name.
¶The church, which is dedicated to St. Peter, consists of three isles, a high chancel, and a north sept or chancel in the middle of the north isle. It has a spire steeple at the south-east corner, in which are three bells. In the high chancel, within the altar-rails, is a monument for Jane, second daughter of Walter Harslete, of Bekesborne, first wife of Sir Arnold Braems, ob 1635, and lies buried in St. Mary's church, in Dover; and for Elizabeth, (second daughter of Sir Dudley Diggs) his second wife, obt. 1645, and lies in the middle of this chancel. Against the north wall is a painted portrait of Robert Bargrave, gent. of Bridge, obt. 1649. Under a circular arch in the same wall are two rows of small imagery, carved in stone, the uppermost repre santing God the Father, with several figures on each side; the lower one, figures taken from the history of the Old Testament. Underneath these, in the hollow of the wall, is the figure of a man lying at full length, in robes, with his two hands joined and uplifted, having on his head seemingly a full perriwig. A memorial for John Hardy, esq. of Bridge-place, obt. 1779. On the east side of the south window is a hollow in the wall, and under it an inscription for Macobus Kasey, vicar of Patrixborne, obt. m.v.c.i.xii. and of his being vicar there xxi years. On the opposite side of the window is carved the figure of a scull, with a snake entering in at one eye, and the end of it out at the other, and a hand with a finger pointing up to it, as if it had been the cause of the person's death, and several bones are interspersed about it. The north chancel is made use of for a school, by voluntary contributions. On the south side of the chancel is a circular arched door-way, with Saxon ornaments. In the register are many entries, from the year 1580 to 1660, of the family of Bargrave, alias Bargar, residents in this parish, and one for Thomas, son of John Cheney, gent. who died in 1620.
The church of Bridge, which is a vicarage, was always esteemed as a chapel to the church of Patrixborne, and as such is included in the valuation of that vicarage in the king's books, the vicar of which is instituted and inducted into that vicarage, with the chapel of Bridge annexed to it. (fn. 2)
The parsonage of this parish therefore, as an appendage to that of Patrixborne, is the property of Edward Taylor, esq. of Bifrons. In 1588 here were eightynine communicants, in 1640 one hundred and twenty.
Belton, St Peter & St Paul, Grantham. Mainly constructed in the 12thC and 14thC, the church is next to, and associated with, but independent of Belton House. It is grade 1 listed. The Nave and Chancel with some of the stained glass installed in 1847 by T
Willement.
Grantham, Lincolnshire, East Midlands, England - Parish Church of St Peter & St Paul, Belton Estate
September 2024
St Peter's is a fine old church, situated in the attractive village of Welford on Avon and dating back to Norman times. This antiquity is most apparent in the interior, which is quite unusually proportioned, with very low and wide late Norman arches, two on each side spanning the entire length of the nave from a single column. The aisles are extremely narrow, mere passages flanking the main vessel, whilst the chancel beyond is of equal length.
There are small fragments of medieval glass in the chancel, but the most impressive feature here is the east window by Geoffrey Webb, a beautiful Comper-esque composition dating from 1924.
The church is kept open and welcoming to visitors. For more detail see its entry on the Warwickshire Churches website below :-
warwickshirechurches.weebly.com/welford-on-avon---st-pete...
View from St. Peter's Church bell tower.
Follow our journey around the world at To Uncertainty & Beyond.
St Peter's church at Oadby is distinguished by a tall early 14th century broach spire and a later Perpendicular nave with clerestorey (whose height clearly exceeds that intended by the builders of the earlier tower).
The sense of height is apparent inside where the nave appears tall for its short length. The walls have been scraped back to the stone during the Victorian restoration but luckily the clerestorey admits enough light to compensate for this (aside from in the chancel).
There are a few decent late 19th/early 20th century windows.
I believe the church is normally kept locked outside of services.
St Peter's church at Yoxall is a grand affair, a large building of three aisles set back from the road with the green expanse of its churchyard to the north (with by contrast a more narrow strip to the south). Externally nearly everything apart from the west tower is the result of Victorian rebuilding (by Henry Woodyer 1865-8).
Inside this is an impressive space, though again mostly dating from the 19th century rebuilding, with just the 14th century nave arcades remaining from the old building. The light nave gives way to the gloom of the chancel beyond which is richly furnished, as also is the chapel to the south with its ornate altar. There is attractive glass by Burlison & Grylls in several windows though the main items of interest here are the monuments with effigies in the nave aisles (an alabaster Tudor couple to the north, a white marble Victorian admiral to the south).
I found Yoxall church open and welcoming like most I encountered on this trip (a refreshing experience in Staffordshire, which is not normally the best of places to seek out open churches).
www.stpeterschurch-yoxall.co.uk/about-us/
www.northernvicar.co.uk/2017/08/30/yoxall-staffordshire-s...
I find this effect really adds a lot of character to photos of old architecture.
en.wikipedia.org/wiki/St._Peter's_Cathedral_(London)
Hand held 2-stop delta 3-bracketed exposure.
St Peter's Church in the centre of Petersfield. Grade I listed.
stpeterspetersfield.org.uk/about_stpeters/the-history-of-...
Shaftesbury Church (St. Peter), Dorset, 26 February 2018. 14th Century Decorated tower, nave, arcades, 15th/16h Century clerestory with roofs of nave and north aisle same period, Perpendicular. Pictured is the nave looking towards the chancel.
St Peter's at Dormington sits close to the road where this small but attractive building may be admired by many passers by. At a glance it may appear a fairly humble building, a simple two-cell structure of nave and chancel crowned only by a weather-boarded spirelet belfry at the west end, but there are rewarding things here for those who stop.
The chancel was mostly rebuilt in Victorian times but the nave is still largely late Norman, though this is not readily apparent from outside given the later windows. The first real sign of Norman work here is a very special one revealed upon entering the south porch: the door knocker is a rare piece of late Romanesque metalwork in the form of a feline head (nowadays a copy takes the place of the original which is kept in the treasury at Hereford)..
Inside the antiquity of the building is much more apparent, with the tiny chancel arch seemingly bored through the east wall of the nave revealing little of the space beyond. The style is transitional as the arch is pointed, but the proportions suggest a late 12th century date nonetheless. Various 17th century memorials adorn the walls with some details of sculptural interest.
The most memorable features inside the church however are the two very fine stained glass windows, that at the east end being a rare work by Mary Lowndes and Isobel Gloag depicting the Last Supper from 1901. Lowndes is famous for setting up the Glass House at Fulham to provide studio space for a number of renowned Arts & Crafts artists, Her glass here is a striking piece with faces full of character. At the west end is a late work by Morris & Co using cartoons by Burne Jones for the figures of Fortiitude & Justice, all in characteristic cool greens and warm orange.
Dormington church is normally open and welcoming to visitors and well rewards a visit for its antiquity and glorious glass.