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Not only does the new puppy get Sophie's favorite window all slobbery, she has to look out that window to see us playing with him!!
Late Arts & Crafts stained glass by Benjamin Warren of Birmingham, 1951.
St Andrew's church in Countesthorpe retains its medieval tower but the main body of the church has otherwise been rebuilt, in 1840 and then in 1907 when the present brick arcades in the nave were constructed.
The church has some good mid 20th century glass in the south aisle.
The church is normally kept locked outside of services. www.standrewscountesthorpe.co.uk/
For more information and images see this church's entry on the Leicestershire Churches site below:-
www.rutlandchurches.co.uk/#/countesthorpe-church-leiceste...
windows after blinds were replaced. made with a fuse-a-shade kit from Joann fabrics, and 3 yards of Amy Butler's Nigella Water Lotus fabric.
Windows of Ireland-9-28-07-Gas station window in Ennistymon of County Clare with the ivy growing around it taking on the colors of fall. Reflection in the window of the house across the street. The young man who pumped our gas looked like a young Vince Gill, of country music fame, making us do a double-take.
Hipstamatic for Iphone
Lens: Jane
Film: Sugar
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First roll of film through my Olympus Pen EES camera. The Olympus Pen EES was a half frame camera built between 1962-1966. The EES was the Pen EE with a focusing lens. It had a 30mm f2.8-22 focusing lens with three focus-indents for near, far, and intermediate distances. Shutter of 1/40 or 1/200 with f-stop selected by the selenium meter at 1/200. F-stop can be set manually with the shutter speed at 1/40. No flash shoe only a PC connector. As with the earlier models, the slow shutter speed setting occurs when the film speed/aperture dial is set to an aperture setting. When the same dial is set to a film speed setting, the shutter is set to 1/200 and the f-stop is set by the meter. So, the camera can be used in low-light situations by setting the dial to the aperture settings - with or without a flash. Film speeds from 10-200ASA. Close focusing to 3 feet. The camera could use 22.5mm filters over the lens or 43.5mm filters over the lens and meter.
The east window by Heaton, Butler & Bayne 1907.
The church of St John the Evangelist at Shobdon is quite simply unique, and deservedly renowned. The picturesque setting on high ground near the remaining parts of Shobdon Court requires some seeking out via a long leafy drive, very much the private estate church but happily open to all. At first glance it appears to be a medieval building as the old square tower still stands proud, but the nave windows beyond it betray Georgian Gothick rebuilding. Nothing however prepares the visitor for the icing-sugar fantasy of the interior that lies within.
Shobdon church was originally a 12th century Norman building adorned with much fine carving, the austere tower we see today was a later addition from the 14th century. Everything changed in 1749 when John 2nd Viscount Bateman decided to demolish the body of the church and rebuild it in an extraordinary 18th century Rococco version of Gothic (influenced by Horace Walpole's 'Strawberry Hill') with a plastered interior finished in white and a subtle shade of blue, the very epitome of architectural confectionary! The church has remained virtually unaltered ever since work finished in 1752.
Whilst the new church is a real gem and something quite unique the loss of its Norman predecessor is a tragedy. The carvings however were reused in a nearby folly (now known as the 'Shobdon Arches') which incorporated the old chancel arch and both the north and south doorways along with their tympana. Alas their more exposed relocation along with softness of the sandstone led to these carvings becoming disastrously eroded in the last two centuries so that the carvings are now barely even a shadow of their former state. The old font with carved lions around the stem remains in the rebuilt church.
Shobdon church is something special and rewards the visitor with its delicate interior. The arches too should be seen even in their current sorry state to understand the story of the site. Both are normally open on a daily basis.
St Martin's in the Bull Ring Birmingham.
Installed in 1877 by William Morris from designs created by Burne Jones, it is one of the earliest examples of their work and contains some unique features.
The window survived the Blitz by a matter of hours. The church council had decided, in an extraordinary lapse, that if it were destroyed it could be replaced. This so annoyed Bishop Barnes that he ordered them to preserve it. The window was promptly removed, carefully packed, and put in the south porch ready to take to storage. That same night the bombs fell destroying every other window in the church.
In 1873, the church was demolished and rebuilt by architect J. A. Chatwin, preserving the earlier tower and spire. During the demolition, medieval wall paintings and decorations were discovered in the chancel, including one showing the charity of St Martin dividing his cloak with a beggar. Two painted beams were also found behind the plaster ceiling.
The exterior is built of rockfaced Grinshill stone. The interior is of sandstone with an open timber roof, which shows the influence of the great hammerbeam roof of Westminster Hall. The beams are decorated with fine tracery and end in large carvings of angels. The roof weighs 93 tons (94.5 tonnes), spans 22 ft (6.7m) over the 100 ft (30.4m) long nave and is 60 ft (18.2m) high.
A collapsing barn near Corson, South Dakota. Right behind this.
Taken by Cory Funk.
Tenuous link: Bug with 4 wings.