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East window in All Saints' church, Waldringfield, Suffolk. Attributed by Birkin Haward to Lavers & Barraud. c1864. This window, showing the Baptism of Christ, the Crucifixion and the Last Supper was installed in the church during the Victorian reconstruction of the 1860s.
It is sometimes referred to as the Coprolite window, as the restoration was financed from the profits of the local Coprolite trade, a thriving business at the time, in which nodules were dug out of the glebe lands, washed on the nearby beach, then transported by barge down the Deben to Ipswich, where it was mixed with sulphuric acid to make an early form of superphosphate fertiliser.
Detail of the First World War memoral window in the north choir aisle transept by James Eadie Reid 1921 (moved here in 1936 from its original location in the north aisle of the nave).
Worcester Cathedral is the commanding presence on the skyline of the city, perched on high ground overlooking the River Severn. It is one of England's most rewarding cathedrals, though denied first rank status owing to the heavy handed Victorian restorations it underwent, an unavoidable consequence of being built of soft red sandstone (a problem shared with Chester and Lichfield) and thus a 19th century feel pervades inside and out in it's mostly renewed external stonework and furnishings.
The cathedral impresses with it's scale, one or our longer churches, crowned by a magnificent central tower (originally surmounted by a lead spire, lost sometime after the Reformation; subtle alterations to the tower's design were made when it was refaced in the Victorian restoration) and with a secondary pair of transepts flanking the choir (as at Salisbury, Lincoln, Rochester & Canterbury). Of the former monastic buildings the cloister and Norman chapter house have survived (along with the refectory, now part of neighbouring King's School), making this a more complex and enjoyable building to explore.
The earliest parts are of the Norman period with the superb 12th century crypt under the choir. The west end of the nave is also Norman work, though very late and unusual in design, with transitional pointed arches. However the bulk of the building we see dates from the 13th and 14th centuries, the east end in Early English Gothic style (where most of the windows were restored to stepped lancets by Sir George Gilbert Scott during the Victorian restoration, having been altered over the centuries), whilst the remainder of the nave and tower largely of the Decorated period (the cathedral originally also possessed a detached octagonal bell tower with a lead spire, which stood near the north east corner but was demolished in 1647).
Of the original furnishings little remains beyond the fine set of misericords in the choir stalls. The stained glass too is nearly entirely Victorian (only some meagre, much restored medieval fragments survive in traceries of the south aisle). Much of the Victorian glass is quite impressive, particularly the great east and west windows by Hardman's of Birmingham.
Worcester is however especially rich in tombs and monuments of all periods, with medieval effigies of bishops, knights and ladies, not all in good condition but worth seeking out. There are also several large tombs from the post-Reformation period (especially in the cluttered south aisle) and some fine Baroque work in the north transept.
The most significant of the monuments here are Royal; in the centre of the choir lies the fine 13th century effigy of King John, best remembered for signing the Magna Carta. Nearby is the superb chantry chapel of Prince Arthur, elder brother of Henry VIII, whose premature death aged 15 changed England forever (one of the most pivotal moments in our history, had he survived the Reformation may never have happened). The gorgeous late Perpendicular Gothic chapel stands to the south of the High Altar and is remarkable for it's rich sculpted detail.
I have just come back from study abroad and I finally am having a chance to sort through my photos. Lisbon was my favorite city. I fell in love with the old tile houses. Here are a couple of my favorites.
Software:
- Windows 7 Start Button Changer
- Rainmeter 2.1 beta
- Omnimo UI
Resources:
- Windows modern Wallpaper by djeric from deviantART
- Rainmeter "Elegance 2" by lilshizzy from deviantART
- Eclipse 2 Icon Pack by chrfb from deviantART
- Trans Token Style Start Orb by my99 from deviantART
no rules, no limitations, no boundaries it's like an art™
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Yanaka is the one remaining "old" part of Tokyo.
Much of the area is sprinkled with temples and shrines - ensuring it will not meet the wrecking ball - and old wooden homes.
Moreover, it was miraculously spared the horrific US air raids of March 1945.
Yanaka covers the area roughly from Sendagi Station, on the Chiyoda Line, east to Yanaka Cemetery. (In Japanese, the cemetery is known as Yanaka Reien; though, most people will refer to the cemetery as Yanaka Bochi.) The area stretches south to Kototoi Dori (Street).
Read more:
During 2018 First West of England received a batch of nine 25 seat Optare Solo buses for the Bath City services finished in a pleasant blue version of First livery. I presume the colour was inspired by the former Bath Tramways livery.
This is the last of the batch - 53859 YJ68FWX - on route 2 in Pierrepont Street on 23rd October 2018 already looking a bit work-stained. The registration sequence immediately precedes the smaller 19-seat Metroline Optare Solos for Hampstead Garden Suburb; there were no YJ68FWY or Z and Metroline OS2499 was YJ68FXA.
An angel's wing beats at every window, but only the listening hear and rise. ~Muriel Strode (1875–1964), My Little Book of Life, 1912
Arrived 30th March 2012, travel time 4 days.
Cute cat by the open window.
"As if the time would keep standing", photo by Bernd Richter.
Victorian window in the south aisle at Measham.
St Laurence's at Measham sits tucked back from the town's main street with an open space in front, allowing a good view of the western side (the rest is harder to appreciate being somewhat hemmed in). The most noticeable feature is the tower dating from sometime after 1733 (according to Pevsner). The rest of the building is of 14th century date and unusually appears as simple a spacious nave and aisles, since there is no structural distinction of the chancel, the east window being where one would normally expect to see a chancel arch.
There is some interesting glass, a collection of medieval fragments are arranged into a collage at the west end of the south aisle, whilst many other windows have a patchwork of brightly coloured late Georgian glass in their traceries. Some of these were casting attractive colours across the interior when we called.
I believe this church is usually open to visitors within reasonable hours. We called rather late in the day (after 6pm) but luckily encountered the vicar who was about to lock up and kindly left the church open a little longer for us.
Shot on slightly expired Fujicolor Superia X-TRA ISO400, with a Canon EOS 30 and a Samyang 35mm f1.4
This bizarre assembly of a window is in the south aisle and seems to have been filled in three stages from left to right; the left hand figure appears to be c1880 by Lavers & Barraud, whilst the adjoining King David's canopy matches but the figure itself is executed differently, more in the manner of Ward & Hughes. The right hand lights with the Good Samaritan appear to be early 20th century, possibly by Percy Bacon.
A wonderful old church well worth exploring but little visited on the edge of suburban Rugby, but as it's normally kept locked I timed my visit close to a sunday evening service to get in. Very friendly people, but alas little time to get decent photos, though they seemed happy to open up for me if I wanted to return. I've known the church for years having grown up in the area but only been inside a few times years ago, when it used to be more accessible. It was one of the first ancient churches I ever experienced and left a lasting impression.
Despite serving what is now a large suburb of Rugby the church retains a country feel, being cut off from the town by the main line between Birmingham and London, meaning it is completely invsible from Hillmorton itself. Normal approach is thus bizarrely through a tunnel under the railway line that leads to the churchyard!
It's a mainly 13th/14th century building, the west tower is of a rich red sandstone whist the body of the building has been patched up at various dates giving it an attractive unrestored patina. Inside is equally unspoilt, retaining a late Georgian feel with it's furnishings, Royal Arms and whitewashed walls (though oddly just chancel and south aisle have been scraped). Victorian glass is confined to 2 south aisle windows (including one strange piecemeal affair) the main east window with it's intersecting tracery is left plain.
The main items of interest here are the monuments, three medieval tombs and an elegant brass of a lady. Of the effigies the best is the early 14th century lady in the south aisle with wimple and canopy over her head. The nearby knight is more damaged whilst the 13th century priest under an arch in the north aisle (almost hidden behind benches) is badly mutilated.
All in all well worth a look, but unless you're lucky with timing will probably require a phonecall to open up, unfortunately there are no keyholder details.
(there's an inscription in the middle of the frame of the upper windows - I only realized it when I looked at this photo, and I couldn't find out what it says or why it is there)
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Thanks for taking time to visit my new personal site here:
“A Story Teller" by Cheryl Chan Photography
Updated Blog:
"The Past and Future of Mistress Lane"
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More Found Still Life: By The Streets
if you like the colorful markets:
check out more Hong Kong Streets & Candid shots here:
Taking the Streets in Hong Kong
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