Churches Visited and Revisited (17/12/16 to Date) – Book 40
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Gothic Beyond Architecture: Manchester’S Collegiate Church
Gothic beyond Architecture: Manchester’s Collegiate Church My previous posts for Visit Manchester have concentrated exclusively upon buildings. In the medieval period—the time when the Gothic style developed in buildings such as the basilica of Saint-Denis on the outskirts of Paris, Île-de-France (Figs 1–2), under the direction of Abbot Suger (1081–1151)—the style was known as either simply ‘new’, or opus francigenum (literally translates as ‘French work’). The style became known as Gothic in the sixteenth century because certain high-profile figures in the Italian Renaissance railed against the architecture and connected what they perceived to be its crude forms with the Goths that sacked Rome and ‘destroyed’ Classical architecture. During the nineteenth century, critics applied Gothic to more than architecture; they located all types of art under the Gothic label. This broad application of the term wasn’t especially helpful and it is no-longer used. Gothic design, nevertheless, was applied to more than architecture in the medieval period. Applied arts, such as furniture and metalwork, were influenced by, and followed and incorporated the decorative and ornament aspects of Gothic architecture. This post assesses the range of influences that Gothic had upon furniture, in particular by exploring Manchester Cathedral’s woodwork, some of which are the most important examples of surviving medieval woodwork in the North of England. Manchester Cathedral, formerly the Collegiate Church of the City (Fig.3), see here, was ascribed Cathedral status in 1847, and it is grade I listed (Historic England listing number 1218041, see here). It is medieval in foundation, with parts dating to between c.1422 and 1520, however it was restored and rebuilt numerous times in the nineteenth century, and it was notably hit by a shell during WWII; the shell failed to explode. -
Archivolt the Continuous Molding Framing an Arch. in Romanesque Or Gothic Architecture, One of the Series of Concentric Bands Framing the Tympanum
archivolt The continuous molding framing an arch. In Romanesque or Gothic architecture, one of the series of concentric bands framing the tympanum. baptistery In Christian architecture, the building used for baptism, usually situated next to a church. barrel vault A masonry roof or ceiling constructed on the arch principle. A barrel or tunnel vault, semicylindrical in crosssection, is in effect a deep arch or an uninterrupted series of arches, one behind the other, over an oblong space. A quadrant vault is a halfbarrel vault. A groin or cross vault is formed at the point at which two barrel vaults intersect at right angles. In a ribbed vault, there is a framework of ribs or arches under the intersections of the vaulting sections. A sexpartite vault is a vault whose ribs divide the vault into six compartments. A fan vault is a vault characteristic of English Perpendicular Gothic, in which radiating ribs form a fanlike pattern. bestiary A collection of illustrations of real and imaginary animals. campanile A bell tower of a church, usually, but not always, freestanding. cathedra Latin, “seat.” See cathedral. cathedral A bishop's church. The word derives from cathedra, referring to the bishop’s seat. cloister A monastery courtyard, usually with covered walks or ambulatories along its sides. compound pier A pier with a group, or cluster, of attached shafts, or responds, especially characteristic of Gothic architecture. Crusades In medieval Europe, armed pilgrimages aimed at recapturing the Holy Land from the Muslims. crypt A vaulted space under part of a building, wholly or partly underground; in churches, normally the portion under an apse or a chevet. -
The Story of Architecture
A/ft CORNELL UNIVERSITY LIBRARY FINE ARTS LIBRARY CORNELL UNIVERSITY LIBRARY 924 062 545 193 Production Note Cornell University Library pro- duced this volume to replace the irreparably deteriorated original. It was scanned using Xerox soft- ware and equipment at 600 dots per inch resolution and com- pressed prior to storage using CCITT Group 4 compression. The digital data were used to create Cornell's replacement volume on paper that meets the ANSI Stand- ard Z39. 48-1984. The production of this volume was supported in part by the Commission on Pres- ervation and Access and the Xerox Corporation. Digital file copy- right by Cornell University Library 1992. Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924062545193 o o I I < y 5 o < A. O u < 3 w s H > ua: S O Q J H HE STORY OF ARCHITECTURE: AN OUTLINE OF THE STYLES IN T ALL COUNTRIES • « « * BY CHARLES THOMPSON MATHEWS, M. A. FELLOW OF THE AMERICAN INSTITUTE OF ARCHITECTS AUTHOR OF THE RENAISSANCE UNDER THE VALOIS NEW YORK D. APPLETON AND COMPANY 1896 Copyright, 1896, By D. APPLETON AND COMPANY. INTRODUCTORY. Architecture, like philosophy, dates from the morning of the mind's history. Primitive man found Nature beautiful to look at, wet and uncomfortable to live in; a shelter became the first desideratum; and hence arose " the most useful of the fine arts, and the finest of the useful arts." Its history, however, does not begin until the thought of beauty had insinuated itself into the mind of the builder. -
Diversity and Co-Operation
CHAPTER 2 Diversity and Co-operation Dissent traced its origins back to the seventeenth century. During the Commonwealth Presbyterianism had triumphed. The Church of England had been re-organised on Presbyterian lines: bishops had been abolished; all ministers were treated as equal. In 1662, following the restoration of Charles II to the throne and bishops to the church, those ministers who could not accept the new dispensation were ejected from their posts. Many gathered congregations outside the Church of England; and most were Presbyterians. During the eighteenth century their successors, swayed by the influences of the Age of Reason, gradually abandoned Trinitarian orthodoxy. By the early nineteenth century many of these ‘rational Dissenters’ were prepared to call themselves Unitarians.1 Although their origins were mainly Presbyterian, they differed totally from the Presbyterians of the nineteenth century—essentially Scottish immigrants who brought their orthodox religion to the major cities, together with Northumberland, and who in 1851 possessed 160 places of worship and 0.2% of the population.2 The Unitarians were of comparable strength,SAMPLE with 229 chapels and 0.2%, but were spread rather more evenly over the country. Their city centre causes, such as High Pavement in Nottingham or Mill Hill in Leeds, were dominated by prosperous business and professional families with a powerful civic spirit whose Dissent was usually hereditary. Yet a wide social range was to be found amongst them. In Lancashire a rationalist schism from Methodism had brought over a substantial working-class membership.3 There was a steady 1 R. K. Webb, ‘The Unitarian Background’, in Barbara Smith, ed., Truth, Liberty, Religion: essays celebrating two hundred years of Manchester College (Oxford, 1986). -
Architectural Style Guide.Pdf
Architectural Styles Chicago School any buildings constructed in Manitoba Prairie School th th during the 19 and 20 centuries bear the Georgian Revival M imprint, or at least the influence, of certain Tudor Revival architectural styles or traditions. Some are faithful to Bungalow a single style. Many more have elements from several Art Deco different styles and are referred to as eclectic. Even Art Moderne more only hint at the basic architectural style from International which they are derived; we might refer to them as vernacular versions of the style. Understanding the basic characteristics of architectural styles is a useful way to begin seeing buildings more critically. Such an understanding also helps in describing a building, in determining its age, or in assessing its architectural value when compared with other buildings of the same style. This guide is an introduction to some of the most significant architectural styles employed during the past 150 years of Manitoba’s history. There are two other sections—building traditions and types, and a glossary of architectural terms—that constitute a complete set for reference. This section, Styles, describes those sophisticated styles that were most influential in this province’s architectural development. Many buildings, often those not designed by formally-trained architects, do not relate at all to these historical styles. Their designs are often dictated by utility, and may be influenced by the designer’s familiarity with other buildings in the district. Such vernacular buildings are sometimes quite particular to a region. The styles discussed here stem from various historical traditions. A section of Main Street in Winnipeg, shown in Georgian an archival photograph from about 1915, reveals Gothic Revival the variety of architectural styles that animated Second Empire Manitoba streetscapes: on the right a massive Italianate Chicago School office tower and on the left a Romanesque Revival highly detailed Italianate storefront. -
Northern Estate Programme Norman Shaw North Standalone
Northern Estate Programme Norman Shaw North Standalone - Archaeological Statement March 2021 00NSN-2131-MLA-XX-XX-T-XX-RG-10344 Status: S2 Revision: C01 Version Date Name Reviewed By Description of Sign-off Changes C01 29/03/2021 Ashley Blair Rupert For Planning Rosalind Morris Featherby & Rosalind Morris -1- Norman Shaw North Standalone Archaeological Statement ContentsContents ................................................................................................................................... 2 Figure List ................................................................................................................................................ 3 1 Introduction .................................................................................................................................... 4 2 Methodology and sources consulted .............................................................................................. 8 3 Site location, topography and geology ......................................................................................... 10 4 Archaeological and historical background .................................................................................... 14 5 Statement of significance.............................................................................................................. 23 6 Impact of proposals ...................................................................................................................... 26 7 Conclusion and recommendations .............................................................................................. -
Chingford Green Conservation Area Appraisal and Management Plan
CHINGFORD GREEN CONSERVATION AREA APPRAISAL AND MANAGEMENT PLAN November 2020 CHINGFORD GREEN CONSERVATION AREA APPRAISAL CONTENTS Introduction 3 Location 3 Planning Policy 5 Public Consultation 6 Summary of Special Interest 7 Heritage Assets 7 Archaeological Priority Zone 8 History 10 Spatial Character 13 Introduction 13 Built spatial character 13 Views 14 Trees & Green Spaces 15 Building Uses 17 Architectural Character 19 Introduction 19 Materials 19 Details 20 Shop fronts within the Conservation Area 20 Buildings Making a Positive Contribution to the Conservation Area 22 Shopfronts Making a Positive Contribution to the Conservation Area 36 Assessment of Condition 38 Appendix One – Statutory List Descriptions 40 Appendix Two – Local List Descriptions 43 Glossary 44 Written & prepared by Mike Fox and Hisham Husain for London Borough of Waltham Forest All images taken by Alan Palmer, unless stated otherwise 2 INTRODUCTION As set out in the Planning (Listed Buildings & Conservation Areas) Act 1990, conservation areas are designated heritage assets that possess special architectural or historic interest that it is desirable to preserve or enhance, through effective management and ongoing maintenance. The concept of protecting areas, as opposed to listing individual buildings, was introduced by the Civic Amenities Act of 1967, and since then over 9,000 such areas have been designated across England. Each conservation area varies in size and will have been identified in recognition of its unique and individual qualities. The Chingford Green Conservation Area was designated by the London Borough of Waltham Forest in 1990, owing to its special architectural and historic interest, as an historically important local centre within the borough, containing a fine mix of buildings dating from the early-modern period onwards, including seven that are statutory listed. -
St Dunstan in the East: an Architectural History of a Medieval London Parish Church
London and Middlesex Archaeological Society Transactions, 66 (2015), 47—77 ST DUNSTAN IN THE EAST: AN ARCHITECTURAL HISTORY OF A MEDIEVAL LONDON PARISH CHURCH Jennifer Ledfors SUMMARY 1996, 18). Consequently, the vanished inter- nal layout of these medieval churches has to The medieval parish of St Dunstan in the East was one be reconstructed from archaeological and of three London parishes referred to as juxta Turrim; historic sources. This article aims to examine the other two parishes were St Olave’s Hart Street and the evidence for the medieval fabric of St All Hallows Staining. It is a well-documented London Dunstan in an attempt to reconstruct the community that is surprisingly under-researched. medieval church based upon documentary, The prevalence of such a rich supply of documentary archaeological, visual and cartographic sources can be attributed to the fact that many of sources. These documents support not only London’s powerful social, civic and governing elite the existence of speciþc features in the pre- lived in the community and also to the parish’s status Reformation parish church, but also provide as a peculiar of the archbishopric, which consequently impressions of the building structure and served in various ways the administration of the architectural features. This allows for the archbishops of Canterbury. The rich records for St construction of a narrative on the various Dunstan in the East have allowed for a study of the elements of the interior fabric, a perspective architecture in a pre-Reformation parish church, on their appearance and usage, as well as which has consequently served to illuminate various providing an impression of the religious aspects of Londoners’ expressions of popular piety and practices and preferences of the people who daily liturgical practices in the later Middle Ages on lived and worshipped in the parish. -
Gothic Architecture
1 Gothic Architecture. The pointed Gothic arch is the secret of the dizzy heights the cathedral builders were able to achieve, from around the 13th Century. Columns became more slender, and vaults higher. Great open spaces and huge windows became the or- der of the day, as the pointed arch began to replace the rounded Roman-style arches of the Romanesque period. We will compare the two styles. On the left are the later arches of Salisbury Cathedral, c. 1230, in the Gothic style with elegant and slender piers. On the right are the Romanesque arches of Gloucester Cathedral with their huge cylindrical supports of faced stone filled with rubble, from around 1130. This is a drawing of praying hands by In this diagram Albrecht Dürer, you can see the 1508, in the effect of these Albertina Gallery in forces on a Gothic Vienna. If you hold pointed arch, your hands like this where some of the and imagine some- thrust is upwards, one pressing down alleviating part of on your knuckles, the weight of the you’ll feel your vault. finger ends move upwards. 2 There are different types of Gothic windows. Early English lancet windows, built 13th Century, plate tracery St. Dunstan’s Church, 1234, east end of Southwell Minster, in the south aisle west Canterbury. Early English Nottinghamshire, England window, All Saints Church, Decorated Style, 13th Hopton, Suffolk, England Century. The first structural windows with pointed arches were built in England and France, and be- gan with plain tall and thin shapes called lancets. By the 13th Century they were decorating the tops of the arches and piercing the stonework above with shapes such as this 4 leaf clover quatrefoil. -
Surname Forenames Date Died Age Service Number Rank Battalion Regiment / Unit / Ship Where Buried / Remembered History
Surname Forenames Date Died Age Service Number Rank Battalion Regiment / Unit / Ship Where Buried / Remembered History Died of wounds. Enlisted August 1916 to Army Service Corps (serial number T4/21509). Only Brandhoek New Military Cemetery No 3 Abrey James 18/08/1917 37 Army 42772 Private 12th Royal Irish Rifles Royal Irish Rifles is recorded on Medal Card. Born Rochford. Married to Miriam of 4 Bournes Belgium Green Southchurch in 1903 Died of wounds received while serving as a stretcher bearer. Enlisted April 1916. Born Rayleigh son of Harry of Weir Cottages. Married to Lily, 8 Guildford Road Southend. Employed as a carman. A member of the Peculiar People religious group. Remembered on Rayleigh Memorial. Adey Fred William 22/10/1916 23 Army 40129 Private 2nd Essex Regiment Etaples Military Cemetery France His brother Harry enlisted 1/9/191 into Middlesex Regiment (service number 2897) and transferred to Machine Gun Corps (13419) being discharged 30/9/1916 through wounds. Inscription on his headstone "Free from a world of grief and sin with God eternally shut in" Died at Shamran Mamourie. Went overseas 5/12/1915. Born Tooting and lived in Rochford. Son Affleck William 05/09/1916 Army 8379 Sergeant 1st Oxfordshire & Buckingham Regiment Basra Memorial Iraq of William and Rebecca The Stores Ashingdon Rochford. Married to Mary in 1915. Killed in action. Born Plaistow. Son of Walter and Eliza of Mount Bovers Lane Hawkwell. Married Feuchy Chapel British Cemetery Wancourt Allen John Charles 10/05/1917 28 Army 33626 Private 2nd Suffolk Regiment (Alice / Sarah) with two children, occupation groom-gardener. -
ESSEX. [KELLY's Swann Mary (Mrs.), Shopkeeper Underwood William, Blacksmith Woodley Daniel, Farmer, Godfreys Thurban Wltr
270 RADWINTER. ESSEX. [KELLY's Swann Mary (Mrs.), shopkeeper Underwood William, blacksmith Woodley Daniel, farmer, Godfreys Thurban Wltr. frmr. New House frm Willings David, farmer Bulls farm Turner John, blacksmith Willings Edward, Plough P.H RAINHAM (from ryne, a watercourse, and ham, a Rev. Henry George Roche LL.B. of St. John's College-, village) is a village and parish, with a station on the Cambridge, who is non-resident; the Rev. Charles Rich. London, Tilbury and Southend railway, 3~ miles north- Nelson Burrows, curate-in-charge since 1891: th& west from Purfleet, 12 by rail from London, 7~ north- brilliant satirist and poet, Charles Churchill, of Trinity west from Grays and 5 east from Barking, in the South College, Cambridge, was once curate here, and in Eastern division of the county, Orsett petty sessional describing in verse the effect of his rural discourses, division, Chafford hundred, Romford union and county says : " Sleep at my bidding crept from pew to pew.•~ court district, and in the rural deanery of Chafford, Here is an undenominational chapel, built in r88g. In archdeacomy of Essex and diocese of St. Albans; the accordance with the directions of various ancient bene village forms a considerable street on the London road factions, bread is given to the poor every Sunday; ros. and the Ingerbourne brook. Over the latter is a for preaching a sermon on Ascension day, 2s. to the bridge, and there are several quays on the creek, at its reader of the Litany and rs. for the parish clerk on th& junction with the Thames. -
The Parish Church of St Peter and St Paul, Brockdish
The Parish Church of St Peter and St Paul, Brockdish. SOME LANDMARKS IN THE HISTORY OF THE CHURCH Our church is not a large church, nor particularly grand. It was renewed and restored in Victorian times and has sometimes been the object of sniffy architectural snobbery by 20th century writers who preferred older, medieval churches. Or it was ignored completely by authors singing the splendours of a county overflowing with glorious churches. Possibly this is because our church has always been off the beaten track, standing remote from the main village down a country lane. But it is the oldest building in the village, at least nine hundred years old and has a wealth of interesting details from across the centuries. The medieval church was restored and renovated in Gothic revival style in the mid-19th century by the remarkable Rector, Reverend George France, whose ambitious commitment to beautify the building leaves a legacy now much prized by experts in Victorian architecture and decoration. The Parish Church of Saint Peter and St Paul, Brockdish, Norfolk Adherence to the formal worship of Christianity has waxed and waned over the centuries and from the time of the Reformation in the mid-16th century, the people of Norfolk have been divided in their attachment to the established church. What we see today is a building that reflects the changes in religious observance and faith but is still a fundamental part of 1 our village identity, even when there aren’t often many people in it! The parish church belongs to all of us, including those who stop by out of curiosity and we hope this little guide will illustrate how a small medieval church became a splendid Victorian one.