Tag: St. John the Baptist

I was previous at St John one particular chilly Boxing Day morning, on one particular of those dutiful visits to see Mom at Christmas. At just just after dawn, it was locked, but seemed a fine church and one to revisit.

So it was previous Thursday, touring back to Suffolk, I arrived at Saxmundham as the sunlight was setting, setting the great church tower bathed in warm golden gentle.

As I stopped to consider a shot of the tower, I was unaware of the vicar seeking to get earlier in his car, but he was affected individual as I go my shot.

He was waiting around for me at the porch, and suggested I hurry inside of to see the home windows that were being illuminated by the solar, this I did.

———————————————–

Saxmundham is a wonderful town about halfway between Ipswich and Lowestoft. The A12 now bypasses it, which was unfortunate for a although for the reason that, like many tiny cities in that problem, it misplaced the passing trade which experienced been a single of the motives for its existence. Saxmundham, or ‘Sax’ as locals simply call it, grew to prominence in the 18th and 19th generations, and it still has the character of a Victorian railway city, especially all over the station. But it is not a vacationer city, contrary to its terrific rival Framlingham, or ‘Fram’, just across the A12.

I like Saxmundham a good deal there is an air of resilience about the spot, and any modest town with two next hand bookshops must have some thing going for it. What it does pass up is a dominating medieval church, mainly because St John the Baptist is away from the principal road on the highway to Leiston.

The graveyard is a fine spot, complete of the headstones of 18th and 19th century worthies. Most famous is the headstone to John Noller, which has its own sundial.

There is a crisp 19th century come to feel to the church, since it was issue to an 1870s restoration at the fingers of Diocesan architect Richard Phipson. Having said that, Phipson was extra delicate to the will need to protect medieval survivals than his successor Herbert Eco-friendly, and so the church has tons of appealing things to see. Having said that, Phipson wasn’t above earning them far more medieval than they now ended up, and so the font, a person of the best Suffolk examples of the 15th century East Anglian design, is completely recut. There are intense little wild men close to the base, and a person of the shields characteristics the devices of the passion.

Probably the most intriguing survival right here, and a uncommon a single, can be seen in the most easterly windows of every of the clerestories. These are the stone corbel ledges that after supported the canopy of honour around the rood. They are each carved elaborately, and the northern a person is castellated. Sancta Johnannes, Ora Professional Nobis (‘St John pray for us’) is carved in a banner together that on the south side.

Inspite of these medieval survivals, the most vital artistic artefacts below are in the east window of the south aisle. This is a collection of ovals of 17th century glass believed to arrive from Innsbruck, depicting Saints and biblical scenes. It is of great good quality, and interesting to appear at. Indeed, aside from the lousy east window there is a fantastic selection of Victorian glass right here as nicely. I invested about 50 percent an hour documenting it all meticulously, and then lost the memory card from my digicam that had all the visuals on. And so, I will have to go again. Sorry.

Simon Knott

www.suffolkchurches.co.british isles/saxmundham.html

————————————————

The church is a great deal altered from the first church which was recorded in the Domesday Survey of 1086. Little proof of this Norman or possibly Saxon church continues to be, while some masonry to be noticed in the decreased phase of the tower may well be of this day.

We also know that the church experienced a South porch that contained a simple 11th century doorway. Regrettably, the porch and doorway disappeared in a major restoration and rebuilding in 1873. On the other hand, we do have a picture of the porch from an etching in 1848.

A great deal of the church that we see these days stems from the 19th century restoration but the church nevertheless contains a lot of unique objects of an before date.

The Western tower (14th century) has diagonal buttresses at its western angles. The two light belfry windows and the equivalent west window are in the Adorned style of the early 14th century. The restored west doorway is also of this day, though some of the masonry in the lessen portion of the tower is arranged in different ways from the relaxation and may possibly have formed aspect of the 11th century church.

The clock was offered in 1880 and was restored in 1938. The parapet has beautiful 15th century flint panelling (flushwork) with traceried panels. Beneath it is a band of bouquets (flearons) and carved heads, in addition to a large head at the centre of the west facet and a gargoyle head on the south facet.

The tower is dwelling to a peal of 6 bells. 3 of these bells were being cast c. 1480-1 510 by John Kebyll of London. One more was built in 1609 by Brend, the Norwich bell-founder, and the tenor, weighing 8cwt.3qtr.7Ib, is by Lester and Pack of Whitechapel, manufactured in 1762. The ring was finished by the addition of a new treble bell by John Warner of London in 1880. The second bell was recast in 1938, and the bells were rehung in new oak frames by Bowell of Ipswich.
A gem in the crown that is St John’s can be located in the churchyard on the tombstone of John Noller (1725), which can be observed south west of the church measures and in eight yards. The east and west faces of the tombstone are modest, inclined rectangular recesses which type a straightforward and imaginative sundial. Just about every sundial demands a pointer or gnomon projecting in entrance of the dial to forged a shadow on to a marked scale. Any this sort of projection very low down on a tombstone would unquestionably, sooner or afterwards, be damaged. To stop this taking place, the designer of John Noller’s headstone strike on the ingenious strategy of generating the edge of the headstone’s area the gnomon and acquired the relative projection by recessing the dial.

As the stone faces east and west, he carved a morning dial on one particular side (east face) and an evening 1 on the other (west face). If you seem in the recesses on both of those faces you will see the hour markings 1,2,3,4,5 on the west recess and 7,8,9,10,11 on the east recess. 12 o’clock is not marked due to the fact at the instant of midday each dial is completely in shadow.

You will also notice that the dials are not upright on the stone but at a slant. The higher edge which functions as the gnomon is so slanted as to level exactly to the north star, or in other text, be parallel with the earth’s axis.

And why was it done? Well, we are not sure, but just as some clocks are marked with tile inscription “Tempus fugit” or time flies, so this headstone with its sundial marking the passing of time also reminds us, the living, that our time before long passes. Or potentially it was selecting up on yet another believed about time from the Bible:

“There is a time for anything, and a season for each
exercise below heaven: a time to be born and a time to die,”
(Ecclesiastes 3:1-2)

The Nave

The Font c 1400
This is a usual East Anglian layout with octagonal panelled bowl carved with lions interspersed with angels holding shields on which are displayed the instruments of the Enthusiasm (East), the Cross (South), the emblem of the Trinity (West) and the 3 crowns of East Anglia (North). The bowl of the font is initial.

The Nave c 1500
Internally the setting up is harmonious, light and effectively-proportioned. The aisles are separated from the nave by 15th century (Perpendicular) arcades of four bays, with octagonal piers which have moulded capitals and bases. These are topped by 6 two light clerestorey windows.

At the West conclusion of the nave is the comparatively contemporary glazed gallery, from which the church’s peal of six bells are rung. The west window of the tower ringing chamber has the only piece of medieval glass, the head of an angel, to endure in this church. Above the ringing chamber is a huge Sanctus bell window, which in mediaeval times authorized the ringer of the Sanctus bell to see more than the Rood Display to the primary altar.

Stained Glass
The 19th century stained glass all over the church is of interest because of the subjects represented as nicely as the makers and artists included.

The West window of the North aisle is explained in The Well known Manual to Suffolk Church buildings as being “a pretty horrible merchandise of Ward and Hughes and functions an outlandishly dressed centurion”. What else can be explained? Beauty is naturally in the eye of the beholder.

The East window of the North aisle depicting two angels versus patterned quarries is of desire mainly because of its neighborhood connections. It was designed and painted by Mary and Bessie McKean of Saxmundham in 1872 and set up by Mr Howlett, a Saxmundham glazier.

The Victorian tour de drive is clearly the West window of the South aisle, created by the Dowager Marchioness of Waterford, a friend of the poet John Ruskin, and a nicely known artist and ebook illustrator. The glass is by O’Connor and Taylor and illustrates Jesus’s ascension into heaven, in outstanding colour. Jesus stands in the centre, and the disciples kneel on either facet. The drama of the scene is improved by the high-quality of the artist’s perform and in individual the facial characteristics.

Pews and Pulpit
The current pews and pulpit date from the restoration of 1873 and are created from New Zealand kaurie pine. They substitute the aged box pews which were so tall that many folk employing them could neither see nor be observed.

The complete of the nave is crowned with a splendid 15th century one-hammerbeam arch braced roof, with castellated hammers and wooden demi-figures as corbels under the wall posts.

Throughout the Georgian era, or possibly just before, the roof was protected in with a flat plaster ceiling. A church guide e-book of 1855 states that at the time only the “finishes” of the roof ended up noticeable beneath the ceiling and that the total inside was disfigured by galleries.

Happily the ceiling was removed in 1932 to expose this splendid roof. It has been restored and the wall plates have been renewed, as have numerous of the other timbers. The ancient woodwork is fewer brown in physical appearance than the modern-day. The figures beneath the wall posts are generally authentic.

The Chancel

A person of the most distinct features of St John’s is its weeping chancel. If you stand in the nave centre aisle and glimpse toward the altar, you will discover that the Chancel is built at a pronounced angle to the nave. This is fairly common in churches created in the shape of a cross (cruciform) but is extremely exceptional in a church of this form. The major aspect is not the angle, which is much larger than standard, but that it is to the South.

Other churches with weeping chancels incline to the North, symbolizing Jesus on the cross with his head in the direction of the penitent thief on his proper. Here it is to his left, signifying that Jesus died for the impenitent as effectively as the penitent. Saxmundham church is a single of the couple of in Europe to have this function.

The Chancel arch and the two bay arcade North and South were replaced as portion of the 1873 restoration, but we consider that the restorers copied the unique types (Embellished type)

The organ by Albert Pease of Hackney was set up in this article in the early 1950s. It has two manuals, pedals and 15 speaking stops.

www.saxmundham.org/aboutsax/parishchurch.html

Posted by Jelltex on 2016-11-15 06:47:32

Tagged: , St. John the Baptist , Saxmundham , Suffolk , Church , Jelltex , Jelltecks

#furnishings #Do-it-yourself #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wooden craft, wooden planer, good woodworking, picket chairs, wood doing work instruments, common woodworking, woodworking textbooks, woodworking workbench ideas

I was past at St John 1 chilly Boxing Day early morning, on one particular of those people dutiful visits to see Mother at Christmas. At just just after dawn, it was locked, but looked a good church and one particular to revisit.

So it was past Thursday, traveling back again to Suffolk, I arrived at Saxmundham as the sunlight was environment, placing the wonderful church tower bathed in warm golden light.

As I stopped to take a shot of the tower, I was unaware of the vicar making an attempt to get earlier in his motor vehicle, but he was affected individual as I go my shot.

He was waiting for me at the porch, and proposed I hurry inside to see the home windows that ended up illuminated by the sunlight, this I did.

———————————————–

Saxmundham is a good town about midway among Ipswich and Lowestoft. The A12 now bypasses it, which was regrettable for a although because, like lots of tiny cities in that circumstance, it dropped the passing trade which experienced been just one of the motives for its existence. Saxmundham, or ‘Sax’ as locals get in touch with it, grew to prominence in the 18th and 19th centuries, and it however has the character of a Victorian railway town, specially all over the station. But it is not a vacationer town, in contrast to its terrific rival Framlingham, or ‘Fram’, just across the A12.

I like Saxmundham a good deal there is an air of resilience about the location, and any little town with two second hand bookshops will have to have a little something likely for it. What it does skip is a dominating medieval church, because St John the Baptist is away from the most important street on the highway to Leiston.

The graveyard is a fine spot, complete of the headstones of 18th and 19th century worthies. Most well known is the headstone to John Noller, which has its individual sundial.

There is a crisp 19th century really feel to the church, for the reason that it was subject matter to an 1870s restoration at the fingers of Diocesan architect Richard Phipson. Having said that, Phipson was far more delicate to the need to maintain medieval survivals than his successor Herbert Environmentally friendly, and so the church has a lot of appealing factors to see. Nonetheless, Phipson wasn’t higher than producing them a lot more medieval than they currently were being, and so the font, one particular of the finest Suffolk examples of the 15th century East Anglian fashion, is comprehensively recut. There are intense very little wild men all over the base, and one particular of the shields features the instruments of the passion.

Maybe the most attention-grabbing survival in this article, and a scarce one, can be seen in the most easterly home windows of each and every of the clerestories. These are the stone corbel ledges that at the time supported the cover of honour in excess of the rood. They are both equally carved elaborately, and the northern one particular is castellated. Sancta Johnannes, Ora Professional Nobis (‘St John pray for us’) is carved in a banner together that on the south aspect.

Regardless of these medieval survivals, the most significant inventive artefacts here are in the east window of the south aisle. This is a assortment of ovals of 17th century glass considered to arrive from Innsbruck, depicting Saints and biblical scenes. It is of excellent high-quality, and intriguing to look at. In truth, aside from the very poor east window there is a excellent selection of Victorian glass in this article as very well. I put in about 50 percent an hour documenting it all meticulously, and then shed the memory card from my digicam that experienced all the photographs on. And so, I will have to go back. Sorry.

Simon Knott

www.suffolkchurches.co.uk/saxmundham.html

————————————————

The church is substantially altered from the primary church which was recorded in the Domesday Survey of 1086. Minor evidence of this Norman or probably Saxon church remains, even though some masonry to be noticed in the decrease stage of the tower may well be of this date.

We also know that the church had a South porch that contained a very simple 11th century doorway. Unfortunately, the porch and doorway disappeared in a significant restoration and rebuilding in 1873. However, we do have a photo of the porch from an etching in 1848.

A lot of the church that we see these days stems from the 19th century restoration but the church nonetheless consists of quite a few initial goods of an earlier day.

The Western tower (14th century) has diagonal buttresses at its western angles. The two light-weight belfry windows and the similar west window are in the Decorated style of the early 14th century. The restored west doorway is also of this day, despite the fact that some of the masonry in the lessen part of the tower is organized otherwise from the rest and may perhaps have formed element of the 11th century church.

The clock was specified in 1880 and was restored in 1938. The parapet has beautiful 15th century flint panelling (flushwork) with traceried panels. Beneath it is a band of bouquets (flearons) and carved heads, in addition to a massive head at the centre of the west side and a gargoyle head on the south aspect.

The tower is household to a peal of 6 bells. A few of these bells ended up cast c. 1480-1 510 by John Kebyll of London. Another was designed in 1609 by Brend, the Norwich bell-founder, and the tenor, weighing 8cwt.3qtr.7Ib, is by Lester and Pack of Whitechapel, made in 1762. The ring was done by the addition of a new treble bell by John Warner of London in 1880. The next bell was recast in 1938, and the bells had been rehung in new oak frames by Bowell of Ipswich.
A gem in the crown that is St John’s can be located in the churchyard on the tombstone of John Noller (1725), which can be identified south west of the church actions and in eight yards. The east and west faces of the tombstone are tiny, inclined rectangular recesses which type a simple and imaginative sundial. Each and every sundial needs a pointer or gnomon projecting in front of the dial to forged a shadow on to a marked scale. Any these projection very low down on a tombstone would certainly, quicker or afterwards, be broken. To prevent this happening, the designer of John Noller’s headstone hit upon the ingenious thought of generating the edge of the headstone’s area the gnomon and acquired the relative projection by recessing the dial.

As the stone faces east and west, he carved a early morning dial on a single side (east experience) and an night just one on the other (west confront). If you search in the recesses on the two faces you will see the hour markings 1,2,3,4,5 on the west recess and 7,8,9,10,11 on the east recess. 12 o’clock is not marked because at the second of noon every dial is fully in shadow.

You will also recognize that the dials are not upright on the stone but at a slant. The upper edge which functions as the gnomon is so slanted as to level precisely to the north star, or in other words and phrases, be parallel with the earth’s axis.

And why was it finished? Very well, we are not guaranteed, but just as some clocks are marked with tile inscription “Tempus fugit” or time flies, so this gravestone with its sundial marking the passing of time also reminds us, the dwelling, that our time quickly passes. Or potentially it was selecting up on an additional considered about time from the Bible:

“There is a time for anything, and a time for each individual
activity less than heaven: a time to be born and a time to die,”
(Ecclesiastes 3:1-2)

The Nave

The Font c 1400
This is a standard East Anglian structure with octagonal panelled bowl carved with lions interspersed with angels keeping shields on which are displayed the instruments of the Enthusiasm (East), the Cross (South), the emblem of the Trinity (West) and the three crowns of East Anglia (North). The bowl of the font is unique.

The Nave c 1500
Internally the setting up is harmonious, light-weight and perfectly-proportioned. The aisles are separated from the nave by 15th century (Perpendicular) arcades of 4 bays, with octagonal piers which have moulded capitals and bases. These are topped by 6 two light-weight clerestorey windows.

At the West close of the nave is the comparatively modern glazed gallery, from which the church’s peal of 6 bells are rung. The west window of the tower ringing chamber contains the only piece of medieval glass, the head of an angel, to survive in this church. Higher than the ringing chamber is a substantial Sanctus bell window, which in mediaeval instances permitted the ringer of the Sanctus bell to see more than the Rood Display to the principal altar.

Stained Glass
The 19th century stained glass all over the church is of fascination for the reason that of the topics represented as well as the makers and artists involved.

The West window of the North aisle is explained in The Well known Information to Suffolk Churches as staying “a fairly awful merchandise of Ward and Hughes and capabilities an outlandishly dressed centurion”. What else can be explained? Beauty is definitely in the eye of the beholder.

The East window of the North aisle depicting two angels versus patterned quarries is of fascination simply because of its neighborhood connections. It was created and painted by Mary and Bessie McKean of Saxmundham in 1872 and put in by Mr Howlett, a Saxmundham glazier.

The Victorian tour de force is naturally the West window of the South aisle, developed by the Dowager Marchioness of Waterford, a mate of the poet John Ruskin, and a perfectly recognised artist and ebook illustrator. The glass is by O’Connor and Taylor and illustrates Jesus’s ascension into heaven, in fantastic colour. Jesus stands in the centre, and the disciples kneel on either aspect. The drama of the scene is improved by the high-quality of the artist’s do the job and in particular the facial options.

Pews and Pulpit
The existing pews and pulpit day from the restoration of 1873 and are created from New Zealand kaurie pine. They change the previous box pews which were so tall that lots of folks utilizing them could neither see nor be found.

The entire of the nave is crowned with a splendid 15th century one-hammerbeam arch braced roof, with castellated hammers and picket demi-figures as corbels underneath the wall posts.

Throughout the Georgian period, or probably prior to, the roof was coated in with a flat plaster ceiling. A church manual e-book of 1855 states that at the time only the “ends” of the roof were visible down below the ceiling and that the whole inside was disfigured by galleries.

Happily the ceiling was eradicated in 1932 to reveal this splendid roof. It has been restored and the wall plates have been renewed, as have a number of of the other timbers. The historical woodwork is less brown in appearance than the modern-day. The figures beneath the wall posts are primarily initial.

The Chancel

A person of the most unique options of St John’s is its weeping chancel. If you stand in the nave centre aisle and glance to the altar, you will detect that the Chancel is constructed at a pronounced angle to the nave. This is rather prevalent in church buildings built in the form of a cross (cruciform) but is very scarce in a church of this kind. The most important characteristic is not the angle, which is significantly increased than normal, but that it is to the South.

Other church buildings with weeping chancels incline to the North, representing Jesus on the cross with his head to the penitent thief on his correct. Below it is to his still left, signifying that Jesus died for the impenitent as effectively as the penitent. Saxmundham church is one of the couple of in Europe to have this aspect.

The Chancel arch and the two bay arcade North and South ended up replaced as aspect of the 1873 restoration, but we imagine that the restorers copied the unique types (Decorated design)

The organ by Albert Pease of Hackney was installed in this article in the early 1950s. It has two manuals, pedals and 15 speaking stops.

www.saxmundham.org/aboutsax/parishchurch.html

Posted by Jelltex on 2016-11-15 06:47:33

Tagged: , St. John the Baptist , Saxmundham , Suffolk , Church , Jelltex , Jelltecks

#home furniture #Diy #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wood craft, wooden planer, fine woodworking, wood chairs, wooden doing work equipment, common woodworking, woodworking publications, woodworking workbench plans

I was previous at St John one chilly Boxing Working day morning, on one particular of individuals dutiful trips to see Mother at Xmas. At just right after dawn, it was locked, but appeared a fine church and a single to revisit.

So it was past Thursday, touring back to Suffolk, I arrived at Saxmundham as the solar was setting, setting the high-quality church tower bathed in warm golden gentle.

As I stopped to just take a shot of the tower, I was unaware of the vicar making an attempt to get past in his car or truck, but he was patient as I go my shot.

He was waiting around for me at the porch, and prompt I hurry inside of to see the windows that have been illuminated by the sunlight, this I did.

———————————————–

Saxmundham is a good city about halfway between Ipswich and Lowestoft. The A12 now bypasses it, which was regrettable for a even though due to the fact, like many small towns in that situation, it lost the passing trade which had been a person of the reasons for its existence. Saxmundham, or ‘Sax’ as locals get in touch with it, grew to prominence in the 18th and 19th hundreds of years, and it nevertheless has the character of a Victorian railway town, specifically all-around the station. But it is not a tourist city, compared with its terrific rival Framlingham, or ‘Fram’, just across the A12.

I like Saxmundham a lot there is an air of resilience about the position, and any small city with two second hand bookshops ought to have one thing heading for it. What it does miss is a dominating medieval church, since St John the Baptist is absent from the main avenue on the road to Leiston.

The graveyard is a high-quality position, whole of the headstones of 18th and 19th century worthies. Most renowned is the headstone to John Noller, which has its individual sundial.

There is a crisp 19th century really feel to the church, for the reason that it was subject to an 1870s restoration at the fingers of Diocesan architect Richard Phipson. On the other hand, Phipson was additional delicate to the require to maintain medieval survivals than his successor Herbert Inexperienced, and so the church has a lot of appealing items to see. Nonetheless, Phipson wasn’t higher than producing them more medieval than they now had been, and so the font, one particular of the best Suffolk examples of the 15th century East Anglian fashion, is extensively recut. There are intense tiny wild adult men all-around the base, and a person of the shields features the instruments of the enthusiasm.

Perhaps the most intriguing survival below, and a unusual 1, can be observed in the most easterly windows of every single of the clerestories. These are the stone corbel ledges that after supported the canopy of honour over the rood. They are each carved elaborately, and the northern a single is castellated. Sancta Johnannes, Ora Professional Nobis (‘St John pray for us’) is carved in a banner along that on the south facet.

Despite these medieval survivals, the most critical creative artefacts right here are in the east window of the south aisle. This is a collection of ovals of 17th century glass considered to occur from Innsbruck, depicting Saints and biblical scenes. It is of excellent good quality, and fascinating to glance at. Certainly, apart from the inadequate east window there is a superior selection of Victorian glass right here as well. I spent about 50 % an hour documenting it all meticulously, and then dropped the memory card from my digicam that experienced all the photos on. And so, I will have to go back. Sorry.

Simon Knott

www.suffolkchurches.co.british isles/saxmundham.html

————————————————

The church is substantially changed from the first church which was recorded in the Domesday Survey of 1086. Small evidence of this Norman or potentially Saxon church continues to be, although some masonry to be viewed in the decrease stage of the tower may possibly be of this date.

We also know that the church experienced a South porch that contained a easy 11th century doorway. Sadly, the porch and doorway disappeared in a significant restoration and rebuilding in 1873. Having said that, we do have a image of the porch from an etching in 1848.

Substantially of the church that we see now stems from the 19th century restoration but the church even now has numerous primary merchandise of an earlier day.

The Western tower (14th century) has diagonal buttresses at its western angles. The two light belfry windows and the equivalent west window are in the Adorned model of the early 14th century. The restored west doorway is also of this date, whilst some of the masonry in the lessen aspect of the tower is organized in another way from the rest and may have shaped section of the 11th century church.

The clock was given in 1880 and was restored in 1938. The parapet has charming 15th century flint panelling (flushwork) with traceried panels. Beneath it is a band of flowers (flearons) and carved heads, in addition to a big head at the centre of the west side and a gargoyle head on the south side.

The tower is property to a peal of 6 bells. 3 of these bells were forged c. 1480-1 510 by John Kebyll of London. A further was made in 1609 by Brend, the Norwich bell-founder, and the tenor, weighing 8cwt.3qtr.7Ib, is by Lester and Pack of Whitechapel, produced in 1762. The ring was concluded by the addition of a new treble bell by John Warner of London in 1880. The 2nd bell was recast in 1938, and the bells have been rehung in new oak frames by Bowell of Ipswich.
A gem in the crown that is St John’s can be discovered in the churchyard on the tombstone of John Noller (1725), which can be discovered south west of the church techniques and in eight yards. The east and west faces of the tombstone are modest, inclined rectangular recesses which type a uncomplicated and imaginative sundial. Each individual sundial wants a pointer or gnomon projecting in front of the dial to cast a shadow on to a marked scale. Any this kind of projection reduced down on a tombstone would definitely, faster or later on, be harmed. To reduce this taking place, the designer of John Noller’s headstone strike on the ingenious plan of making the edge of the headstone’s surface area the gnomon and attained the relative projection by recessing the dial.

As the stone faces east and west, he carved a morning dial on a single aspect (east deal with) and an night a single on the other (west face). If you look in the recesses on the two faces you will see the hour markings 1,2,3,4,5 on the west recess and 7,8,9,10,11 on the east recess. 12 o’clock is not marked mainly because at the moment of midday each and every dial is wholly in shadow.

You will also recognize that the dials are not upright on the stone but at a slant. The upper edge which functions as the gnomon is so slanted as to place precisely to the north star, or in other terms, be parallel with the earth’s axis.

And why was it accomplished? Nicely, we are not positive, but just as some clocks are marked with tile inscription “Tempus fugit” or time flies, so this headstone with its sundial marking the passing of time also reminds us, the living, that our time soon passes. Or probably it was buying up on a further assumed about time from the Bible:

“There is a time for almost everything, and a period for each individual
action less than heaven: a time to be born and a time to die,”
(Ecclesiastes 3:1-2)

The Nave

The Font c 1400
This is a standard East Anglian structure with octagonal panelled bowl carved with lions interspersed with angels holding shields on which are shown the devices of the Enthusiasm (East), the Cross (South), the emblem of the Trinity (West) and the a few crowns of East Anglia (North). The bowl of the font is original.

The Nave c 1500
Internally the creating is harmonious, mild and effectively-proportioned. The aisles are divided from the nave by 15th century (Perpendicular) arcades of 4 bays, with octagonal piers which have moulded capitals and bases. These are topped by six two light clerestorey home windows.

At the West conclusion of the nave is the comparatively present day glazed gallery, from which the church’s peal of six bells are rung. The west window of the tower ringing chamber is made up of the only piece of medieval glass, the head of an angel, to survive in this church. Above the ringing chamber is a significant Sanctus bell window, which in mediaeval times allowed the ringer of the Sanctus bell to see over the Rood Monitor to the most important altar.

Stained Glass
The 19th century stained glass throughout the church is of interest since of the topics represented as effectively as the makers and artists concerned.

The West window of the North aisle is described in The Well-liked Guideline to Suffolk Church buildings as staying “a fairly horrible products of Ward and Hughes and functions an outlandishly dressed centurion”. What else can be mentioned? Magnificence is certainly in the eye of the beholder.

The East window of the North aisle depicting two angels in opposition to patterned quarries is of fascination since of its local connections. It was created and painted by Mary and Bessie McKean of Saxmundham in 1872 and put in by Mr Howlett, a Saxmundham glazier.

The Victorian tour de power is naturally the West window of the South aisle, created by the Dowager Marchioness of Waterford, a good friend of the poet John Ruskin, and a properly regarded artist and e book illustrator. The glass is by O’Connor and Taylor and illustrates Jesus’s ascension into heaven, in brilliant colour. Jesus stands in the centre, and the disciples kneel on both aspect. The drama of the scene is increased by the top quality of the artist’s operate and in distinct the facial features.

Pews and Pulpit
The current pews and pulpit date from the restoration of 1873 and are produced from New Zealand kaurie pine. They switch the previous box pews which ended up so tall that several folks using them could neither see nor be viewed.

The total of the nave is topped with a splendid 15th century one-hammerbeam arch braced roof, with castellated hammers and wooden demi-figures as corbels underneath the wall posts.

For the duration of the Georgian era, or perhaps before, the roof was lined in with a flat plaster ceiling. A church guideline guide of 1855 states that at the time only the “ends” of the roof were being visible under the ceiling and that the total interior was disfigured by galleries.

Happily the ceiling was eliminated in 1932 to reveal this splendid roof. It has been restored and the wall plates have been renewed, as have quite a few of the other timbers. The ancient woodwork is less brown in appearance than the present day. The figures beneath the wall posts are largely primary.

The Chancel

One particular of the most distinct attributes of St John’s is its weeping chancel. If you stand in the nave centre aisle and look toward the altar, you will recognize that the Chancel is designed at a pronounced angle to the nave. This is quite prevalent in church buildings created in the condition of a cross (cruciform) but is pretty unusual in a church of this kind. The most important feature is not the angle, which is considerably greater than regular, but that it is to the South.

Other churches with weeping chancels incline to the North, representing Jesus on the cross with his head in direction of the penitent thief on his ideal. Below it is to his remaining, signifying that Jesus died for the impenitent as very well as the penitent. Saxmundham church is just one of the couple of in Europe to have this function.

The Chancel arch and the two bay arcade North and South ended up replaced as element of the 1873 restoration, but we feel that the restorers copied the first kinds (Decorated design)

The organ by Albert Pease of Hackney was installed in this article in the early 1950s. It has two manuals, pedals and 15 talking stops.

www.saxmundham.org/aboutsax/parishchurch.html

Posted by Jelltex on 2016-11-15 06:47:32

Tagged: , St. John the Baptist , Saxmundham , Suffolk , Church , Jelltex , Jelltecks

#household furniture #Diy #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wood craft, wooden planer, wonderful woodworking, picket chairs, wooden working tools, well-liked woodworking, woodworking guides, woodworking workbench ideas

I was last at St John 1 chilly Boxing Day early morning, on one particular of these dutiful journeys to see Mom at Xmas. At just following dawn, it was locked, but seemed a fine church and 1 to revisit.

So it was final Thursday, touring back to Suffolk, I arrived at Saxmundham as the sunshine was location, location the great church tower bathed in warm golden gentle.

As I stopped to get a shot of the tower, I was unaware of the vicar attempting to get earlier in his auto, but he was client as I go my shot.

He was waiting around for me at the porch, and suggested I hurry inside of to see the windows that ended up illuminated by the sunshine, this I did.

———————————————–

Saxmundham is a fantastic town about halfway involving Ipswich and Lowestoft. The A12 now bypasses it, which was regrettable for a whilst since, like numerous tiny towns in that circumstance, it shed the passing trade which experienced been a person of the factors for its existence. Saxmundham, or ‘Sax’ as locals simply call it, grew to prominence in the 18th and 19th hundreds of years, and it nonetheless has the character of a Victorian railway city, in particular close to the station. But it is not a vacationer city, contrary to its wonderful rival Framlingham, or ‘Fram’, just across the A12.

I like Saxmundham a great deal there is an air of resilience about the spot, and any compact city with two second hand bookshops need to have a little something likely for it. What it does skip is a dominating medieval church, mainly because St John the Baptist is away from the main road on the street to Leiston.

The graveyard is a wonderful position, full of the headstones of 18th and 19th century worthies. Most well-known is the headstone to John Noller, which has its personal sundial.

There is a crisp 19th century feel to the church, for the reason that it was matter to an 1870s restoration at the arms of Diocesan architect Richard Phipson. However, Phipson was far more delicate to the want to protect medieval survivals than his successor Herbert Inexperienced, and so the church has lots of interesting things to see. However, Phipson wasn’t previously mentioned making them much more medieval than they already have been, and so the font, one of the best Suffolk examples of the 15th century East Anglian fashion, is comprehensively recut. There are intense minor wild men close to the base, and a person of the shields capabilities the devices of the enthusiasm.

Potentially the most intriguing survival in this article, and a uncommon a person, can be found in the most easterly home windows of each of the clerestories. These are the stone corbel ledges that at the time supported the cover of honour over the rood. They are each carved elaborately, and the northern a person is castellated. Sancta Johnannes, Ora Pro Nobis (‘St John pray for us’) is carved in a banner together that on the south facet.

In spite of these medieval survivals, the most significant inventive artefacts here are in the east window of the south aisle. This is a selection of ovals of 17th century glass thought to appear from Innsbruck, depicting Saints and biblical scenes. It is of fantastic high-quality, and interesting to glimpse at. Without a doubt, aside from the bad east window there is a great assortment of Victorian glass below as effectively. I used about 50 % an hour documenting it all meticulously, and then shed the memory card from my digital camera that had all the illustrations or photos on. And so, I will have to go again. Sorry.

Simon Knott

www.suffolkchurches.co.uk/saxmundham.html

————————————————

The church is considerably improved from the first church which was recorded in the Domesday Study of 1086. Minimal evidence of this Norman or perhaps Saxon church remains, while some masonry to be viewed in the reduced stage of the tower may be of this day.

We also know that the church experienced a South porch that contained a straightforward 11th century doorway. Regretably, the porch and doorway disappeared in a key restoration and rebuilding in 1873. Even so, we do have a photo of the porch from an etching in 1848.

A lot of the church that we see right now stems from the 19th century restoration but the church continue to contains several original goods of an before date.

The Western tower (14th century) has diagonal buttresses at its western angles. The two light belfry windows and the very similar west window are in the Decorated model of the early 14th century. The restored west doorway is also of this date, although some of the masonry in the reduced aspect of the tower is arranged in different ways from the rest and may possibly have formed element of the 11th century church.

The clock was given in 1880 and was restored in 1938. The parapet has attractive 15th century flint panelling (flushwork) with traceried panels. Beneath it is a band of bouquets (flearons) and carved heads, in addition to a big head at the centre of the west facet and a gargoyle head on the south side.

The tower is home to a peal of 6 bells. 3 of these bells ended up forged c. 1480-1 510 by John Kebyll of London. Yet another was manufactured in 1609 by Brend, the Norwich bell-founder, and the tenor, weighing 8cwt.3qtr.7Ib, is by Lester and Pack of Whitechapel, manufactured in 1762. The ring was completed by the addition of a new treble bell by John Warner of London in 1880. The second bell was recast in 1938, and the bells were rehung in new oak frames by Bowell of Ipswich.
A gem in the crown that is St John’s can be discovered in the churchyard on the tombstone of John Noller (1725), which can be discovered south west of the church measures and in 8 yards. The east and west faces of the tombstone are smaller, inclined oblong recesses which type a basic and imaginative sundial. Just about every sundial requires a pointer or gnomon projecting in entrance of the dial to solid a shadow on to a marked scale. Any this kind of projection lower down on a tombstone would certainly, faster or later, be ruined. To avoid this happening, the designer of John Noller’s headstone strike upon the ingenious strategy of creating the edge of the headstone’s surface the gnomon and obtained the relative projection by recessing the dial.

As the stone faces east and west, he carved a morning dial on a single facet (east face) and an night one on the other (west deal with). If you seem in the recesses on both of those faces you will see the hour markings 1,2,3,4,5 on the west recess and 7,8,9,10,11 on the east recess. 12 o’clock is not marked due to the fact at the second of noon every single dial is wholly in shadow.

You will also see that the dials are not upright on the stone but at a slant. The higher edge which acts as the gnomon is so slanted as to point specifically to the north star, or in other terms, be parallel with the earth’s axis.

And why was it performed? Well, we are not sure, but just as some clocks are marked with tile inscription “Tempus fugit” or time flies, so this gravestone with its sundial marking the passing of time also reminds us, the living, that our time before long passes. Or maybe it was picking up on yet another imagined about time from the Bible:

“There is a time for all the things, and a period for each
activity under heaven: a time to be born and a time to die,”
(Ecclesiastes 3:1-2)

The Nave

The Font c 1400
This is a usual East Anglian structure with octagonal panelled bowl carved with lions interspersed with angels holding shields on which are shown the devices of the Enthusiasm (East), the Cross (South), the emblem of the Trinity (West) and the three crowns of East Anglia (North). The bowl of the font is primary.

The Nave c 1500
Internally the setting up is harmonious, light and effectively-proportioned. The aisles are separated from the nave by 15th century (Perpendicular) arcades of four bays, with octagonal piers which have moulded capitals and bases. These are topped by six two light clerestorey home windows.

At the West conclude of the nave is the comparatively modern day glazed gallery, from which the church’s peal of six bells are rung. The west window of the tower ringing chamber contains the only piece of medieval glass, the head of an angel, to survive in this church. Previously mentioned the ringing chamber is a big Sanctus bell window, which in mediaeval periods permitted the ringer of the Sanctus bell to see around the Rood Display screen to the principal altar.

Stained Glass
The 19th century stained glass in the course of the church is of fascination since of the subjects represented as nicely as the makers and artists associated.

The West window of the North aisle is described in The Well known Tutorial to Suffolk Church buildings as staying “a quite terrible item of Ward and Hughes and characteristics an outlandishly dressed centurion”. What else can be reported? Splendor is clearly in the eye of the beholder.

The East window of the North aisle depicting two angels versus patterned quarries is of fascination simply because of its regional connections. It was designed and painted by Mary and Bessie McKean of Saxmundham in 1872 and put in by Mr Howlett, a Saxmundham glazier.

The Victorian tour de force is definitely the West window of the South aisle, developed by the Dowager Marchioness of Waterford, a friend of the poet John Ruskin, and a very well recognized artist and reserve illustrator. The glass is by O’Connor and Taylor and illustrates Jesus’s ascension into heaven, in excellent color. Jesus stands in the centre, and the disciples kneel on possibly aspect. The drama of the scene is improved by the quality of the artist’s work and in distinct the facial attributes.

Pews and Pulpit
The current pews and pulpit day from the restoration of 1873 and are produced from New Zealand kaurie pine. They change the previous box pews which were being so tall that several folks utilizing them could neither see nor be witnessed.

The entire of the nave is crowned with a splendid 15th century single-hammerbeam arch braced roof, with castellated hammers and wooden demi-figures as corbels down below the wall posts.

During the Georgian era, or potentially ahead of, the roof was lined in with a flat plaster ceiling. A church tutorial book of 1855 states that at the time only the “ends” of the roof were seen underneath the ceiling and that the entire inside was disfigured by galleries.

Happily the ceiling was eradicated in 1932 to expose this splendid roof. It has been restored and the wall plates have been renewed, as have several of the other timbers. The historic woodwork is a lot less brown in visual appeal than the modern. The figures beneath the wall posts are mainly first.

The Chancel

One of the most distinctive functions of St John’s is its weeping chancel. If you stand in the nave centre aisle and look to the altar, you will detect that the Chancel is designed at a pronounced angle to the nave. This is pretty typical in church buildings created in the shape of a cross (cruciform) but is really unusual in a church of this style. The principal function is not the angle, which is considerably increased than typical, but that it is to the South.

Other church buildings with weeping chancels incline to the North, representing Jesus on the cross with his head to the penitent thief on his appropriate. Listed here it is to his left, signifying that Jesus died for the impenitent as very well as the penitent. Saxmundham church is a person of the couple of in Europe to have this characteristic.

The Chancel arch and the two bay arcade North and South have been changed as component of the 1873 restoration, but we believe that the restorers copied the initial sorts (Adorned fashion)

The organ by Albert Pease of Hackney was installed here in the early 1950s. It has two manuals, pedals and 15 talking stops.

www.saxmundham.org/aboutsax/parishchurch.html

Posted by Jelltex on 2016-11-13 17:57:30

Tagged: , St. John the Baptist , Saxmundham , Suffolk , Church , Jelltex , Jelltecks

#furniture #Diy #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wooden craft, wood planer, high-quality woodworking, wooden chairs, wood doing work resources, well-liked woodworking, woodworking books, woodworking workbench programs

I was previous at St John just one chilly Boxing Working day morning, on a single of those people dutiful excursions to see Mother at Christmas. At just right after dawn, it was locked, but seemed a good church and one to revisit.

So it was final Thursday, touring again to Suffolk, I arrived at Saxmundham as the solar was placing, environment the wonderful church tower bathed in heat golden light-weight.

As I stopped to consider a shot of the tower, I was unaware of the vicar hoping to get earlier in his vehicle, but he was client as I go my shot.

He was ready for me at the porch, and proposed I hurry inside of to see the windows that were illuminated by the sunlight, this I did.

———————————————–

Saxmundham is a great city about midway amongst Ipswich and Lowestoft. The A12 now bypasses it, which was unfortunate for a while due to the fact, like lots of little towns in that scenario, it missing the passing trade which experienced been just one of the factors for its existence. Saxmundham, or ‘Sax’ as locals contact it, grew to prominence in the 18th and 19th hundreds of years, and it even now has the character of a Victorian railway town, specially about the station. But it is not a tourist town, contrary to its terrific rival Framlingham, or ‘Fram’, just throughout the A12.

I like Saxmundham a lot there is an air of resilience about the place, and any smaller town with two next hand bookshops need to have a thing heading for it. What it does pass up is a dominating medieval church, due to the fact St John the Baptist is away from the key road on the road to Leiston.

The graveyard is a great position, whole of the headstones of 18th and 19th century worthies. Most well-known is the headstone to John Noller, which has its personal sundial.

There is a crisp 19th century really feel to the church, because it was topic to an 1870s restoration at the hands of Diocesan architect Richard Phipson. Nevertheless, Phipson was far more delicate to the want to preserve medieval survivals than his successor Herbert Eco-friendly, and so the church has plenty of interesting things to see. Nonetheless, Phipson wasn’t previously mentioned producing them extra medieval than they by now ended up, and so the font, just one of the finest Suffolk illustrations of the 15th century East Anglian fashion, is totally recut. There are intense tiny wild guys around the foundation, and one particular of the shields features the devices of the enthusiasm.

Maybe the most fascinating survival in this article, and a scarce a person, can be observed in the most easterly windows of just about every of the clerestories. These are the stone corbel ledges that at the time supported the cover of honour over the rood. They are the two carved elaborately, and the northern a single is castellated. Sancta Johnannes, Ora Professional Nobis (‘St John pray for us’) is carved in a banner along that on the south side.

Despite these medieval survivals, the most important inventive artefacts below are in the east window of the south aisle. This is a assortment of ovals of 17th century glass considered to appear from Innsbruck, depicting Saints and biblical scenes. It is of fantastic high-quality, and interesting to glimpse at. In truth, aside from the bad east window there is a great assortment of Victorian glass here as nicely. I used about fifty percent an hour documenting it all meticulously, and then dropped the memory card from my digicam that had all the photos on. And so, I will have to go again. Sorry.

Simon Knott

www.suffolkchurches.co.united kingdom/saxmundham.html

————————————————

The church is a lot adjusted from the original church which was recorded in the Domesday Survey of 1086. Very little evidence of this Norman or maybe Saxon church remains, though some masonry to be noticed in the decrease phase of the tower may possibly be of this day.

We also know that the church experienced a South porch that contained a basic 11th century doorway. Regretably, the porch and doorway disappeared in a major restoration and rebuilding in 1873. Nonetheless, we do have a photograph of the porch from an etching in 1848.

Significantly of the church that we see currently stems from the 19th century restoration but the church still contains several first objects of an previously day.

The Western tower (14th century) has diagonal buttresses at its western angles. The two light belfry windows and the identical west window are in the Adorned model of the early 14th century. The restored west doorway is also of this date, despite the fact that some of the masonry in the decrease section of the tower is organized differently from the rest and may perhaps have fashioned element of the 11th century church.

The clock was supplied in 1880 and was restored in 1938. The parapet has charming 15th century flint panelling (flushwork) with traceried panels. Beneath it is a band of bouquets (flearons) and carved heads, in addition to a massive head at the centre of the west aspect and a gargoyle head on the south aspect.

The tower is home to a peal of six bells. Three of these bells were being forged c. 1480-1 510 by John Kebyll of London. A different was produced in 1609 by Brend, the Norwich bell-founder, and the tenor, weighing 8cwt.3qtr.7Ib, is by Lester and Pack of Whitechapel, designed in 1762. The ring was completed by the addition of a new treble bell by John Warner of London in 1880. The second bell was recast in 1938, and the bells have been rehung in new oak frames by Bowell of Ipswich.
A gem in the crown that is St John’s can be identified in the churchyard on the tombstone of John Noller (1725), which can be located south west of the church actions and in 8 yards. The east and west faces of the tombstone are modest, inclined rectangular recesses which sort a simple and imaginative sundial. Just about every sundial wants a pointer or gnomon projecting in front of the dial to solid a shadow on to a marked scale. Any this sort of projection very low down on a tombstone would absolutely, faster or afterwards, be harmed. To avert this happening, the designer of John Noller’s headstone hit on the ingenious thought of producing the edge of the headstone’s area the gnomon and attained the relative projection by recessing the dial.

As the stone faces east and west, he carved a early morning dial on a person aspect (east face) and an evening one on the other (west face). If you appear in the recesses on each faces you will see the hour markings 1,2,3,4,5 on the west recess and 7,8,9,10,11 on the east recess. 12 o’clock is not marked since at the second of noon just about every dial is completely in shadow.

You will also detect that the dials are not upright on the stone but at a slant. The higher edge which acts as the gnomon is so slanted as to place precisely to the north star, or in other words, be parallel with the earth’s axis.

And why was it carried out? Effectively, we are not guaranteed, but just as some clocks are marked with tile inscription “Tempus fugit” or time flies, so this gravestone with its sundial marking the passing of time also reminds us, the living, that our time shortly passes. Or maybe it was selecting up on yet another believed about time from the Bible:

“There is a time for almost everything, and a season for each
action less than heaven: a time to be born and a time to die,”
(Ecclesiastes 3:1-2)

The Nave

The Font c 1400
This is a regular East Anglian style with octagonal panelled bowl carved with lions interspersed with angels keeping shields on which are exhibited the devices of the Passion (East), the Cross (South), the emblem of the Trinity (West) and the three crowns of East Anglia (North). The bowl of the font is original.

The Nave c 1500
Internally the setting up is harmonious, light and well-proportioned. The aisles are divided from the nave by 15th century (Perpendicular) arcades of 4 bays, with octagonal piers which have moulded capitals and bases. These are topped by six two light clerestorey windows.

At the West finish of the nave is the comparatively modern day glazed gallery, from which the church’s peal of six bells are rung. The west window of the tower ringing chamber has the only piece of medieval glass, the head of an angel, to survive in this church. Previously mentioned the ringing chamber is a significant Sanctus bell window, which in mediaeval occasions authorized the ringer of the Sanctus bell to see above the Rood Display to the principal altar.

Stained Glass
The 19th century stained glass during the church is of curiosity due to the fact of the subjects represented as effectively as the makers and artists included.

The West window of the North aisle is explained in The Popular Guidebook to Suffolk Church buildings as remaining “a pretty terrible solution of Ward and Hughes and options an outlandishly dressed centurion”. What else can be mentioned? Magnificence is definitely in the eye of the beholder.

The East window of the North aisle depicting two angels towards patterned quarries is of fascination simply because of its nearby connections. It was made and painted by Mary and Bessie McKean of Saxmundham in 1872 and set up by Mr Howlett, a Saxmundham glazier.

The Victorian tour de drive is of course the West window of the South aisle, developed by the Dowager Marchioness of Waterford, a good friend of the poet John Ruskin, and a very well recognized artist and guide illustrator. The glass is by O’Connor and Taylor and illustrates Jesus’s ascension into heaven, in excellent color. Jesus stands in the centre, and the disciples kneel on either aspect. The drama of the scene is enhanced by the good quality of the artist’s perform and in particular the facial options.

Pews and Pulpit
The current pews and pulpit day from the restoration of 1873 and are designed from New Zealand kaurie pine. They switch the aged box pews which were being so tall that many people employing them could neither see nor be observed.

The whole of the nave is topped with a splendid 15th century single-hammerbeam arch braced roof, with castellated hammers and wooden demi-figures as corbels below the wall posts.

During the Georgian era, or possibly in advance of, the roof was lined in with a flat plaster ceiling. A church manual reserve of 1855 states that at the time only the “ends” of the roof were being visible below the ceiling and that the entire inside was disfigured by galleries.

Happily the ceiling was taken off in 1932 to expose this splendid roof. It has been restored and the wall plates have been renewed, as have numerous of the other timbers. The historical woodwork is fewer brown in overall look than the modern day. The figures beneath the wall posts are mainly authentic.

The Chancel

1 of the most exclusive features of St John’s is its weeping chancel. If you stand in the nave centre aisle and search in direction of the altar, you will see that the Chancel is constructed at a pronounced angle to the nave. This is pretty frequent in churches designed in the form of a cross (cruciform) but is extremely exceptional in a church of this sort. The major characteristic is not the angle, which is a great deal increased than typical, but that it is to the South.

Other churches with weeping chancels incline to the North, representing Jesus on the cross with his head toward the penitent thief on his appropriate. Listed here it is to his left, signifying that Jesus died for the impenitent as very well as the penitent. Saxmundham church is one of the several in Europe to have this aspect.

The Chancel arch and the two bay arcade North and South were replaced as part of the 1873 restoration, but we feel that the restorers copied the first varieties (Embellished type)

The organ by Albert Pease of Hackney was put in right here in the early 1950s. It has two manuals, pedals and 15 speaking stops.

www.saxmundham.org/aboutsax/parishchurch.html

Posted by Jelltex on 2016-11-14 20:44:06

Tagged: , St. John the Baptist , Saxmundham , Suffolk , Church , Jelltex , Jelltecks

#furniture #Do it yourself #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wood craft, wood planer, fine woodworking, wood chairs, wood performing equipment, well-known woodworking, woodworking guides, woodworking workbench programs