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St Andrew, Frenze, Norfolk
We are a stone's throw from the Suffolk border, and Frenze church sits barely any distance at all from Diss railway station, but it is remote, across the fields hidden in a copse of trees. To reach it, you need to head out of Diss and journey almost a mile from the nearest road. From a country lane signposted somewhat unpromisingly to Diss Business Centre, you soon reach clear rolling country, and at a bend in the road a concrete track heads off to Frenze Hall. If you have ever visited Frenze church, or even read about it, I'm sure it wouldn't be possible to pass the end of this track without turning off on it.
Not for the first time, I failed to resist one Thursday morning in the furnace heat of early August 2018. I freewheeled down the track through the woods and then upwards until eventually, the track came out into an empty farmyard, apparently abandoned, although the farm house is still occupied. In one corner of the yard, on a rise behind an old wooden fence, sits the church of St Andrew, Frenze. As lovely as ever, the door wide open, the only slightly jarring note being the big 'church open' sign outside - is that necessary? Surely nobody is just passing here, and anyone who has made the trip specially is going to try the door anyway, aren't they?
St Andrew is a curious looking structure. Effectively, it is just the small nave of a formerly longer church, propped up but still leaning all over the place. You step through the red brick porch, not ostentatious but full of the self-importance of the end of the medieval period, into a soft grey light falling on bare wood and stone.
Although the font and a few other features survive from medieval times, the overwhelming flavour of the inside is of the 17th century, a silvery white family pew facing across to its partner pulpit, clearly by the same hand. The church is so obviously redundant, and perhaps because of this is charged more intensely with the past of this tiny parish more than its present. Now in the tender care of the Churches Conservation Trust, this would just be a beautiful, unspoiled hidden corner of Norfolk if it were not for one very curious thing - this church has no less than seven figure brasses, more than just about any other church in East Anglia, as well as other memorial inscriptions. An extraordinary find in such a place.
They are all between eighteen and twenty-four inches tall. Mostly, they are to the Blenerhaysett, or Blennerhassett, family and their relatives - a most un-East Anglian name. In the Paston letters, Sir John scoffs that Ralph Blenerhaysett is a name to start a hare. They came from Cumbria, and were Lords of the Manor here. Six of the figures are still in situ on the floor. They are vowess Joan Braham, died 1519, in cloak and girdle, Jane Blenerhaysett, 1521, in kennel headdress, John Blenerhaysett, her husband, also 1521, in armour, with sword, the already mentioned Ralph Blenerhaysett, 1475, in full mail. Then there is an exquisite shroud brass to Thomas Hobson, and Anne Duke, also in a kennel headress. Other inscriptions also survive, and there are replicas of others on the wall. As I say, extraordinary stuff.
Even if there were no brasses, you would want to come here. Everything is simple, but touched down the long years - the plain altar, bears a medieval mensa. Surviving boards from a Stuart royal arms have been collected together and hang above the south door. There are two piscinas set into windowsills, one each side of the nave. Two smug little monkeys on a single bench stare out at all of this. What a special place.
Time passes and the world has been saved. The Doctor, last of the Time Lords, has returned the Cobra agents known as Eels and Copperhead to South America where they have returned to their duties, arguably wiser from their experiences with the Doctor. The voice of Lady Gaga has performed exactly as the Doctor had expected and the world is safe at the cost of over nineteen thousand lives. The reaction of the seismic crystal to the precisely sung tune of Lady Gaga's voice resulted in a massive off-shore Tsunami, a responsibility that the Time Lord has chosen to keep from the songstress. Instead, the Doctor has decided to reward her... with more responsibility. He calls the diva over to the TARDIS console wearing a great smile.
Doctor: Well Gaga, you did it! You saved the world! Congratulations! So tell me, how does it feel?
Lady Gaga smiles.
Lady Gaga: I have no idea what I did.
Doctor: Oh, such a human response! Not to worry Gaga! Lots of discoveries were made by people not knowing what they were doing. Take the invention of the microwave for example. Or chocolate chip biscuits, or cookies if you prefer. Or the potato chip!
Lady Gaga: Yeah but I didn't invent something or discover something. I just did what you asked me to do.
The Doctor's companion, Amy Pond steps forward.
Amy: And in doing so you saved the world.
Doctor: Yes, you did, and you did a brilliant job of it too. In fact, I have something for you.
The Doctor reaches into his pocket and offers its contents to Gaga.
Lady Gaga: A key?
Doctor: From one point of view, yes. From another, a symbol of trust. Of faith! We must have faith in something and I for one, have faith in you. You can use this key, Lady Gaga, to open any door, start any motor, unlock any lock... except deadbolt locks. I just can't seem to outwit the old deadbolt, but nevermind. My point is this, Lady Gaga, is a symbol of my trust and I am offering it to you.
Lady Gaga looks at the key, then at the Time Lord.
Lady Gaga: I don't know what to say.
Amy: You don't have to say much. It's just a key.
The Doctor frowns.
Doctor: No, it is trust. It is important. I give it to you Gaga because you will need it one day. It is precious, so keep it safe. Do you understand me? You must keep it safe.
Lady Gaga: I can keep it safe Doctor. I have a key ring.
Doctor: Excellent! A key ring! A perfect place to keep your keys! I must get one of those myself! I wonder if those were purposefully invented or were they another wonderful accident?
Both Amy and Lady Gaga look at the Doctor blankly, unsure of if he was joking or not. The Doctor suddenly turns deadly serious.
Doctor: Keep it safe Lady Gaga. I assure you, it is of great importance.
Lady Gaga looks at the ring, then takes it from the Doctor.
Lady Gaga: I will. I promise.
Lighthouse in sunset at Mollösund on the Swedish westcoast. Contribution to the group Fotosondag, theme: Negative space.
Min tolkning av temat är att ytan utan egentligt innehåll tillför själva motivet en känsla. Himlen och havet är visserligen vackra, men innehåller inget i sig. Utan detta ingenting hade fyren inte varit ett dugg spännande eller vacker. Ska ses mot svart bakgrund.
"Disney couldn't have done it better. Little Moreton Hall is everyone's fantasy of what a Cheshire black-and-white timber-framed house should be, complete with moat"
Built 1440 - 1570.
Drama above the circus ring from Acéléré by Circolombia.
You can book tickets here: www.underbellyedinburgh.co.uk/whats-on/acelere-by-circolo...
Childhood memories. As Fylde's oldest bus in the mid 1980s I followed this bus as it managed to survive until 1996 - twice as long as its two sisters. 77 was then preserved by FTT and regained its original livery in 1998. It was used for a few events but was parked up in 1999 awaiting more substantial repairs. After steady work over five years, a new front end has been fitted and the platform rebuilt. Today was its first day carrying passengers in over 22 years.
The plant splitting technique - great gardening course, learning about Herbaceous Borders at Woolbeding. Super interesting - more to come, check out their site www.nationaltrust.org.uk/woolbeding-gardens/
wholetyouwearthat.com/2014/07/trust-me/
BODY
••¤ Skin ¤•• 7 Deadly s{K}ins – SUMMER Gacha V2
••¤ Hair ¤•• TRUTH HAIR Maisy
••¤ Devil’s Make-up ¤•• .:Glamorize:. Rival Black Combo
••¤ Angel’s Make-up ¤•• :.Envious.: Eyeshadow Addon 01
••¤ Devil’s Polish ¤•• -{ZOZ}- Skull Stripe Silver Polish
••¤ Angel’s Polish ¤•• -{ZOZ}- Angel Polish
OUTFIT
••¤ Devil’s Outfit ¤•• :.Envious.: Dark Knight
••¤ Angel’s Outfit ¤•• :.Envious.: White Knight
••¤ Devil’s Shoes ¤•• :.Envious.: Lost Virtue Wedges
••¤ Angel’s Shoes ¤•• :.Envious.: Virtue Wedges
••¤ Devil’s Wings ¤•• :.Envious.: X Factor**
••¤ Angel’s Wings ¤•• :.Envious.: Sugar High
Church of St Oswald, Moor Lane, Kirk Sandall
Grade II* Listed
List Entry Number: 1286919
SE 60 NW 8/39
BARNBY DUN WITH KIRK SANDALL Kirk Sandall MOOR LANE (north side) Church of St. Oswald
(formerly listed as at Sandall Parva)
5.6.68
GV II* Church. C12, C14 and C16 with later additions, restored 1864 (by J. M.Teale) and in 1935. Rubble and ashlar limestone, lead and tile roofs.
Two-bay aisled nave with south porch and truncated tower rising from aisle behind, C20 north vestry; two-bay chancel with larger two-bay north chapel.
Nave: C12 south aisle has large quoins and pebble-work to lower courses; 1864 porch to bay one with pointed arch and hoodmould beneath coped gable with cross; C12 south doorway within has a lightly-chamfered, two-order round arch having single order of columns with plain capitals; two-light window to bay two (renewed in 1864) has pointed arch and hoodmould with carved-head stops; end walls each have a small C12 window. Above bay one of aisle rises a single stage of tower added in 1828 but truncated in 1935, it has a two-light south window and corniced eaves to pyramidal roof with louvred gablets. West wall of nave (earlier C12) incorporates same herringbone courses above a C14 three-light west window with intersecting tracery and hoodmould with weathered stops beneath gable quatrefoil. North aisle has buttresses flanking a two-light west window and two-light north window to east of C20 vestry which encloses a narrow triangular-headed doorway with hoodmould. Aisles under catslide roofs from nave with C19 kneelers and gable copings with apex crosses.
Chancel: C12, rewindowed C15 with cusped two-light south windows in chamfered, square-headed surrounds; three-light east window has panel tracery. String course beneath ashlar parapet with roll-moulded copings and shallow east gable with cross.
Rokeby Chapel (to north) built soon after 1521: Perpendicular with cyma-moulded plinth and moulded band. East end, set forward, has diagonal buttresses and string course beneath restored and infilled five-light window with cusped lights and panel tracery beneath four-centred arch with hoodmould; heraldic shield beneath hollow string course carved with animals; embattled parapet with apex niche, (pinnacles removed). North side has diagonal west buttress and buttress between two four-light windows.
Interior: late C12 aisle arcades with half-round responds; octagonal piers and broad, square capitals to plain round arches; round-headed piscina in south aisle and complete embrasures to the C12 end windows; C19 roof. Chancel: double-chamfered chancel arch, the inner order on corbels; moulded and hollow-chamfered C15 arches from north aisle and from chancel into chapel which has altered niches flanking the east window, arcading of cinquefoiled blind panels on north wall and fine C16 roof with intricately-carved tie beams, bosses at each crossing and central pendant boss.
Fittings: cylindrical Norman font on two-step plinth. Excellent traceried wooden screens to west of chancel and chapel, the chancel screen of 3:2:3 divisions with crocketed, ogee panels to dado and central four-panel door with four-light tracery, the upper panels pierced; side panels set beneath small twin ogee canopies; main shafts with tiny figures in niches at the capitals; canopy has carved vinetrail and pierced cresting. The chapel screen similar but of 1:2:1 divisions.
Monuments in Rokeby Chapel: floor slabs include that to Thomas Rokeby (d.1669). Large marble wall monument on east wall to Thomas Rokeby (d.1621) has consoles with floral drops and cherubs head flanking a domed oval plaque with Latin inscription, cartouche over and open segmental pediment containing cartouche and mantling beneath draped urn. On north wall the tomb of Archbishop William Rokeby (d.1521) with foiled, four-panel base and canopy on shafts with foiled frieze and cresting; some inscribed brasses within. To its left a weathered C17 cartouche above marble plaque. On south wall a scrolled pedimented monument to William Rokeby (d.1662) has shield of arms over. Brasses: on east wall a plate with eight lines of verse which originally marked the burial spot of Archbishop Rokeby. Other brasses on floor to Thomas Boucher (d.1658) and wife Elizabeth (d.1677).
Stained glass: western north chapel window has jumbled C16 glass with incomplete figures of saints. Chapel built soon after the death of William Rokeby, Bishop of Meath, Archbishop of Dublin and Chancellor of Ireland and formerly a vicar of Kirk Sandal.
Church now in the care of the Redundant Churches Fund.
Council for Places of Worship Report ref. PM 821 (description and inventory).
P. F. Ryder, Saxon churches in South Yorkshire, County Archaeology Monograph No. 2, 1982 page 94 (plan).
Listing NGR: SE6092808130
historicengland.org.uk/listing/the-list/list-entry/1286919
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Kirk Sandall, St Oswald
St Oswald's Church is a redundant Anglican church in Kirk Sandall, near Doncaster, South Yorkshire, England. It is recorded in the National Heritage List for England as a designated Grade II* listed building, and is under the care of the Churches Conservation Trust.
History
The church is dedicated to Saint Oswald, king of Northumbria, and there is a legend that his body rested on the site after he was killed in 642. A church was present at the time of the Domesday survey. Most of the present church was built in the 12th century, with additions and alterations in the 14th and 16th centuries. It was restored in 1864 by J. M. Teale, and again in 1934. The Rokeby Chapel is named after William Rokeby, rector of Kirk Sandall from 1487 to 1502. He later became vicar of Halifax, then Bishop of Meath, Lord Chancellor of Ireland, and Archbishop of Dublin. The chapel was built soon after his death in 1521. The tower was added in 1828 but was truncated in 1935. By the 1960s the local population had declined, a new church was built in a nearby growing village. St Oswald's was declared redundant on 1 March 1979, and was vested in the Trust on 27 July 1980.
Architecture
Exterior
St Oswald's is constructed in rubble and ashlar limestone, and has lead and tile roofs. Its plan consists of a two-bay nave with north and south aisles, a south porch and a west tower rising from the south aisle. The chancel has two bays and to its north is the larger two-bay Rokeby Chapel. The style of the nave and aisles is essentially Norman, while the chancel is Gothic and, within the latter style, the Rokeby Chapel is Perpendicular. The tower had to be shortened in the 1930s because it was unsafe. It functions as a belfry and contains one bell, cast in 1690. In its south face is a two-light window, its roof is pyramidal and it contains a small louvred gable on each side. The porch has a pointed arch over which is a gable carrying a cross. The doorway to the church is Norman is style with a two-order round arch. In the west wall of the nave is a three-light window. Above the window are stones arranged in a herring-bone pattern. It is thought that these stones date from the Anglo-Saxon era and were formerly part of the fabric of the original church on the site. The east window has three lights. The Rokeby Chapel has an embattled parapet and a string course carved with animals. Its blocked east window has five lights, and on its north wall is a diagonal west buttress and a further buttress between two four-light windows.
Interior
The arcades between the nave and the aisles are Norman in style and consist of octagonal piers, with broad square capitals and round arches. The nave roof dates from the 19th century. In the south aisle is a round-headed piscina. The cylindrical font is Norman in style and stands on a plinth with two steps. There are two traceried wooden screens, one to the west of the chancel, the other to the west of the chapel. On the north wall of the chapel is the tomb of William Rokeby. On the east wall, blocking the former window, is a marble monument to Thomas Rokeby who died in 1621. On the south wall is a monument to another William Rokeby who died in 1662. Elsewhere in the chapel are memorial floor slabs and brasses. In one of the windows is stained glass dating from the 16th century.
External features
In the churchyard are the remains of a cross dating probably from the medieval period. It is constructed with Magnesian Limestone and consists of an octagonal base with a weathered shaft about 1 metre (3 ft) in height. It is a Grade II listed building.
Present day
The church is available for visiting, its keyholder living nearby. The work of the Trust is supported locally by a group known as the Friends of St Oswald's, Kirk Sandall. Various activities are organised in the church. These include exhibitions, and occasional services arranged in cooperation with the local parish Church of The Good Shepherd.