Tag: St. John the Baptist

I was last at St John a single chilly Boxing Day early morning, on 1 of all those dutiful trips to see Mother at Christmas. At just right after dawn, it was locked, but appeared a good church and one to revisit.

So it was very last Thursday, touring back again to Suffolk, I arrived at Saxmundham as the sun was location, location the good church tower bathed in heat golden light-weight.

As I stopped to 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 client as I go my shot.

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

———————————————–

Saxmundham is a great city about halfway between Ipswich and Lowestoft. The A12 now bypasses it, which was unlucky for a whilst for the reason that, like many tiny towns in that problem, it missing the passing trade which had been a person of the causes for its existence. Saxmundham, or ‘Sax’ as locals call it, grew to prominence in the 18th and 19th centuries, and it continue to has the character of a Victorian railway town, specially close to the station. But it is not a tourist town, unlike its excellent rival Framlingham, or ‘Fram’, just across the A12.

I like Saxmundham a lot there is an air of resilience about the place, and any smaller city with two second hand bookshops need to have a thing going for it. What it does miss out on is a dominating medieval church, because St John the Baptist is absent from the main road on the highway to Leiston.

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

There is a crisp 19th century experience to the church, for the reason that it was subject to an 1870s restoration at the palms of Diocesan architect Richard Phipson. Nevertheless, Phipson was more sensitive to the need to protect medieval survivals than his successor Herbert Environmentally friendly, and so the church has plenty of attention-grabbing factors to see. On the other hand, Phipson wasn’t above building them a lot more medieval than they presently had been, and so the font, a person of the ideal Suffolk illustrations of the 15th century East Anglian type, is extensively recut. There are intense minor wild men about the foundation, and a person of the shields characteristics the instruments of the enthusiasm.

Potentially the most fascinating survival below, and a uncommon a single, can be observed in the most easterly windows of every single of the clerestories. These are the stone corbel ledges that the moment supported the canopy of honour about the rood. They are the two carved elaborately, and the northern one is castellated. Sancta Johnannes, Ora Pro Nobis (‘St John pray for us’) is carved in a banner along that on the south aspect.

Inspite of these medieval survivals, the most critical inventive artefacts here are in the east window of the south aisle. This is a assortment of ovals of 17th century glass thought to arrive from Innsbruck, depicting Saints and biblical scenes. It is of fantastic excellent, and intriguing to look at. In truth, aside from the poor east window there is a superior selection of Victorian glass below as effectively. I put in about 50 % an hour documenting it all meticulously, and then missing the memory card from my digital camera that experienced all the images on. And so, I will have to go back. Sorry.

Simon Knott

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

————————————————

The church is substantially improved from the initial church which was recorded in the Domesday Study of 1086. Minimal evidence of this Norman or perhaps Saxon church continues to be, even though some masonry to be found in the reduce phase of the tower may be of this day.

We also know that the church experienced a South porch that contained a easy 11th century doorway. Unfortunately, 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.

Much of the church that we see today stems from the 19th century restoration but the church continue to is made up of a lot of authentic products of an before date.

The Western tower (14th century) has diagonal buttresses at its western angles. The two light-weight belfry home windows and the equivalent west window are in the Decorated design and style of the early 14th century. The restored west doorway is also of this day, while some of the masonry in the decrease part of the tower is arranged in different ways from the rest and may have fashioned section 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 huge head at the centre of the west facet and a gargoyle head on the south facet.

The tower is house to a peal of six bells. Three of these bells had been forged 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 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 had 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 found south west of the church actions and in 8 yards. The east and west faces of the tombstone are smaller, inclined rectangular recesses which form a simple and imaginative sundial. Each and every sundial requires a pointer or gnomon projecting in entrance of the dial to cast a shadow on to a marked scale. Any such projection small down on a tombstone would surely, quicker or later on, be ruined. To avoid this happening, the designer of John Noller’s headstone strike on the ingenious concept of creating the edge of the headstone’s area the gnomon and obtained the relative projection by recessing the dial.

As the stone faces east and west, he carved a morning dial on one facet (east experience) and an evening one particular on the other (west deal with). If you appear in the recesses on both 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 minute of midday each and every dial is completely in shadow.

You will also recognize 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 accurately to the north star, or in other text, be parallel with the earth’s axis.

And why was it carried out? Very well, we are not absolutely 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 residing, that our time soon passes. Or most likely it was selecting up on another thought about time from the Bible:

“There is a time for all the things, and a period for every single
exercise 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 normal East Anglian layout 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 3 crowns of East Anglia (North). The bowl of the font is initial.

The Nave c 1500
Internally the constructing is harmonious, mild and nicely-proportioned. The aisles are divided 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 gentle clerestorey home 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 has the only piece of medieval glass, the head of an angel, to survive in this church. Over the ringing chamber is a substantial Sanctus bell window, which in mediaeval periods authorized the ringer of the Sanctus bell to see more than the Rood Display to the main altar.

Stained Glass
The 19th century stained glass through the church is of curiosity simply because of the topics represented as effectively as the makers and artists associated.

The West window of the North aisle is explained in The Well-known Tutorial to Suffolk Church buildings as being “a relatively horrible merchandise of Ward and Hughes and characteristics an outlandishly dressed centurion”. What else can be reported? Beauty is clearly in the eye of the beholder.

The East window of the North aisle depicting two angels towards patterned quarries is of interest due to the fact of its regional connections. It was made 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 clearly the West window of the South aisle, created by the Dowager Marchioness of Waterford, a friend of the poet John Ruskin, and a perfectly regarded artist and book 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 possibly aspect. The drama of the scene is improved by the high quality of the artist’s perform and in particular the facial attributes.

Pews and Pulpit
The existing pews and pulpit day from the restoration of 1873 and are made from New Zealand kaurie pine. They exchange the previous box pews which ended up so tall that lots of people applying them could neither see nor be witnessed.

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

For the duration of the Georgian era, or possibly right before, the roof was coated in with a flat plaster ceiling. A church information book of 1855 states that at the time only the “finishes” of the roof had been obvious beneath the ceiling and that the full inside was disfigured by galleries.

Happily the ceiling was removed 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 historic woodwork is fewer brown in visual appeal than the modern day. The figures beneath the wall posts are generally initial.

The Chancel

A single of the most unique characteristics of St John’s is its weeping chancel. If you stand in the nave centre aisle and glimpse to the altar, you will notice that the Chancel is designed at a pronounced angle to the nave. This is relatively frequent in church buildings built in the shape of a cross (cruciform) but is quite unusual in a church of this style. The principal feature is not the angle, which is a lot bigger than common, but that it is to the South.

Other church buildings with weeping chancels incline to the North, symbolizing Jesus on the cross with his head to the penitent thief on his proper. Below it is to his remaining, signifying that Jesus died for the impenitent as effectively as the penitent. Saxmundham church is a person of the handful of in Europe to have this aspect.

The Chancel arch and the two bay arcade North and South ended up changed as aspect of the 1873 restoration, but we assume that the restorers copied the primary forms (Adorned style)

The organ by Albert Pease of Hackney was installed 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 06:38:48

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

#furnishings #Diy #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wooden craft, wood planer, fantastic woodworking, wood chairs, wood working resources, well-known woodworking, woodworking books, woodworking workbench plans

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

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

As I stopped to take a shot of the tower, I was unaware of the vicar attempting to get past in his motor vehicle, but he was individual as I go my shot.

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

———————————————–

Saxmundham is a fine city about halfway in between Ipswich and Lowestoft. The A12 now bypasses it, which was unlucky for a even though since, like quite a few compact cities in that circumstance, it missing the passing trade which had been a single of the explanations for its existence. Saxmundham, or ‘Sax’ as locals phone it, grew to prominence in the 18th and 19th centuries, and it nonetheless has the character of a Victorian railway town, specifically close to the station. But it is not a vacationer town, unlike its good rival Framlingham, or ‘Fram’, just throughout the A12.

I like Saxmundham a lot there is an air of resilience about the area, and any modest city with two next hand bookshops have to have a little something likely for it. What it does pass up is a dominating medieval church, mainly because St John the Baptist is absent from the key avenue on the street to Leiston.

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

There is a crisp 19th century really feel to the church, since it was matter to an 1870s restoration at the arms of Diocesan architect Richard Phipson. Nevertheless, Phipson was more delicate to the will need to protect medieval survivals than his successor Herbert Inexperienced, and so the church has lots of fascinating points to see. Even so, Phipson wasn’t over producing them much more medieval than they now were being, and so the font, a person of the greatest Suffolk illustrations of the 15th century East Anglian design and style, is totally recut. There are intense minimal wild gentlemen close to the base, and a single of the shields functions the instruments of the enthusiasm.

Maybe the most appealing survival in this article, and a unusual 1, can be observed in the most easterly home windows of each and every of the clerestories. These are the stone corbel ledges that as soon as supported the canopy of honour about the rood. They are both carved elaborately, and the northern 1 is castellated. Sancta Johnannes, Ora Pro Nobis (‘St John pray for us’) is carved in a banner alongside that on the south aspect.

Even with 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 thought to come from Innsbruck, depicting Saints and biblical scenes. It is of excellent excellent, and interesting to glance at. In truth, aside from the weak east window there is a excellent collection of Victorian glass below as very well. I invested about half 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 back again. Sorry.

Simon Knott

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

————————————————

The church is a great deal changed from the initial church which was recorded in the Domesday Survey of 1086. Minor evidence of this Norman or possibly Saxon church continues to be, even though some masonry to be observed in the lower stage of the tower might be of this day.

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

Substantially of the church that we see right now stems from the 19th century restoration but the church even now incorporates a lot of unique goods of an before day.

The Western tower (14th century) has diagonal buttresses at its western angles. The two light-weight belfry windows and the identical west window are in the Decorated style of the early 14th century. The restored west doorway is also of this day, though some of the masonry in the lower aspect of the tower is arranged in another way from the rest and may possibly have shaped aspect 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 flowers (flearons) and carved heads, in addition to a significant head at the centre of the west aspect and a gargoyle head on the south aspect.

The tower is household to a peal of six bells. 3 of these bells had been forged c. 1480-1 510 by John Kebyll of London. A different was made 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 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 ended up rehung in new oak frames by Bowell of Ipswich.
A gem in the crown that is St John’s can be uncovered in the churchyard on the tombstone of John Noller (1725), which can be located south west of the church techniques and in eight yards. The east and west faces of the tombstone are compact, inclined rectangular recesses which variety a basic and imaginative sundial. Every single sundial requires a pointer or gnomon projecting in front of the dial to solid a shadow on to a marked scale. Any this kind of projection reduced down on a tombstone would surely, quicker or afterwards, be damaged. To avoid this occurring, the designer of John Noller’s headstone hit on the ingenious concept of creating 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 aspect (east encounter) and an night just one on the other (west experience). If you search in the recesses on equally 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 for the reason that at the instant of noon each and every dial is wholly in shadow.

You will also discover 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 just to the north star, or in other words, be parallel with the earth’s axis.

And why was it completed? Well, we are not certain, 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 residing, that our time soon passes. Or most likely it was choosing up on a different thought about time from the Bible:

“There is a time for every thing, and a year for every single
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 normal East Anglian design with octagonal panelled bowl carved with lions interspersed with angels keeping shields on which are shown 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 original.

The Nave c 1500
Internally the building is harmonious, gentle and well-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-weight clerestorey home windows.

At the West stop of the nave is the comparatively fashionable 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. Above the ringing chamber is a massive Sanctus bell window, which in mediaeval periods permitted the ringer of the Sanctus bell to see in excess of the Rood Display screen to the principal altar.

Stained Glass
The 19th century stained glass in the course of the church is of desire due to the fact of the subjects represented as very well as the makers and artists associated.

The West window of the North aisle is described in The Popular Manual to Suffolk Churches as getting “a relatively awful solution of Ward and Hughes and attributes an outlandishly dressed centurion”. What else can be explained? Magnificence is naturally in the eye of the beholder.

The East window of the North aisle depicting two angels in opposition to patterned quarries is of interest simply because of its nearby connections. It was intended 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 certainly the West window of the South aisle, intended by the Dowager Marchioness of Waterford, a good friend of the poet John Ruskin, and a well identified artist and e-book illustrator. The glass is by O’Connor and Taylor and illustrates Jesus’s ascension into heaven, in outstanding color. Jesus stands in the centre, and the disciples kneel on either side. The drama of the scene is improved by the top quality of the artist’s do the job and in specific the facial options.

Pews and Pulpit
The present pews and pulpit date from the restoration of 1873 and are manufactured from New Zealand kaurie pine. They substitute the old box pews which were being so tall that several people employing them could neither see nor be noticed.

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

All through the Georgian period, or potentially just before, the roof was included in with a flat plaster ceiling. A church information book of 1855 states that at the time only the “finishes” of the roof ended up obvious underneath the ceiling and that the complete interior 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 quite a few of the other timbers. The historical woodwork is fewer brown in visual appearance than the modern day. The figures beneath the wall posts are mostly primary.

The Chancel

1 of the most distinctive options of St John’s is its weeping chancel. If you stand in the nave centre aisle and look toward the altar, you will detect that the Chancel is created at a pronounced angle to the nave. This is quite common in church buildings constructed in the form of a cross (cruciform) but is quite rare in a church of this style. The primary attribute is not the angle, which is significantly greater than regular, 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 in the direction of the penitent thief on his ideal. Below it is to his left, signifying that Jesus died for the impenitent as well as the penitent. Saxmundham church is a person of the handful of in Europe to have this aspect.

The Chancel arch and the two bay arcade North and South ended up replaced as component of the 1873 restoration, but we imagine that the restorers copied the authentic varieties (Embellished model)

The organ by Albert Pease of Hackney was mounted below 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 20:44:09

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

#home furnishings #Diy #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wood craft, wood planer, good woodworking, picket chairs, wooden working instruments, well-known woodworking, woodworking textbooks, woodworking workbench ideas

I was very last at St John 1 chilly Boxing Day early morning, on just one of all those dutiful excursions to see Mom at Christmas. At just just after dawn, it was locked, but seemed a high-quality church and a person to revisit.

So it was previous Thursday, touring again to Suffolk, I arrived at Saxmundham as the sun was placing, placing the high-quality church tower bathed in warm golden gentle.

As I stopped to get a shot of the tower, I was unaware of the vicar striving to get earlier in his car or truck, but he was affected person as I go my shot.

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

———————————————–

Saxmundham is a fantastic town about midway between Ipswich and Lowestoft. The A12 now bypasses it, which was regrettable for a even though simply because, like many small cities in that scenario, it lost the passing trade which experienced been a single of the reasons for its existence. Saxmundham, or ‘Sax’ as locals get in touch with it, grew to prominence in the 18th and 19th generations, and it continue to has the character of a Victorian railway town, in particular all-around the station. But it is not a vacationer town, as opposed to its good rival Framlingham, or ‘Fram’, just across the A12.

I like Saxmundham a large amount there is an air of resilience about the spot, and any smaller town with two next hand bookshops ought to have a little something going for it. What it does skip is a dominating medieval church, for the reason that St John the Baptist is away from the primary avenue on the highway to Leiston.

The graveyard is a high-quality place, entire of the headstones of 18th and 19th century worthies. Most famed is the headstone to John Noller, which has its personal sundial.

There is a crisp 19th century sense to the church, due to the fact it was subject matter to an 1870s restoration at the arms of Diocesan architect Richard Phipson. However, Phipson was extra sensitive to the need to have to protect medieval survivals than his successor Herbert Inexperienced, and so the church has lots of attention-grabbing factors to see. Even so, Phipson wasn’t over creating them extra medieval than they currently ended up, and so the font, one particular of the best Suffolk examples of the 15th century East Anglian design, is totally recut. There are aggressive very little wild guys about the base, and a single of the shields features the devices of the enthusiasm.

Possibly the most fascinating survival right here, and a rare a person, can be viewed in the most easterly home windows of each of the clerestories. These are the stone corbel ledges that when supported the canopy of honour above the rood. They are each carved elaborately, and the northern 1 is castellated. Sancta Johnannes, Ora Pro Nobis (‘St John pray for us’) is carved in a banner together that on the south facet.

Despite these medieval survivals, the most crucial artistic artefacts here are in the east window of the south aisle. This is a assortment of ovals of 17th century glass thought to arrive from Innsbruck, depicting Saints and biblical scenes. It is of fantastic high quality, and interesting to seem at. Certainly, apart from the very poor east window there is a good collection of Victorian glass below as effectively. I expended about half an hour documenting it all meticulously, and then lost the memory card from my digicam that experienced all the photographs on. And so, I will have to go back again. Sorry.

Simon Knott

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

————————————————

The church is much modified from the authentic church which was recorded in the Domesday Survey of 1086. Small proof of this Norman or potentially Saxon church continues to be, although some masonry to be found in the lower stage of the tower may be of this date.

We also know that the church experienced a South porch that contained a simple 11th century doorway. However, the porch and doorway disappeared in a main restoration and rebuilding in 1873. However, we do have a photograph 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 nonetheless has many original goods of an earlier date.

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 Adorned model of the early 14th century. The restored west doorway is also of this day, while some of the masonry in the reduced part of the tower is organized in a different way from the rest and may possibly have shaped section 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 substantial head at the centre of the west facet and a gargoyle head on the south aspect.

The tower is home to a peal of six bells. 3 of these bells ended up cast c. 1480-1 510 by John Kebyll of London. One more was produced 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 concluded 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 discovered south west of the church actions and in eight yards. The east and west faces of the tombstone are modest, inclined oblong recesses which form a straightforward and imaginative sundial. Each sundial wants a pointer or gnomon projecting in entrance of the dial to cast a shadow on to a marked scale. Any this kind of projection lower down on a tombstone would surely, quicker or later on, be damaged. To prevent this going on, the designer of John Noller’s headstone strike on the ingenious notion of creating the edge of the headstone’s surface 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 aspect (east deal with) and an evening 1 on the other (west experience). If you glance 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 since at the second of noon each and every dial is totally in shadow.

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

And why was it finished? Perfectly, we are not absolutely 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 dwelling, that our time soon passes. Or maybe it was selecting up on yet another thought about time from the Bible:

“There is a time for every thing, and a year for every
exercise 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 standard East Anglian style with octagonal panelled bowl carved with lions interspersed with angels keeping shields on which are shown the devices of the Passion (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 constructing is harmonious, gentle 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 gentle clerestorey home windows.

At the West close 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. Above the ringing chamber is a large Sanctus bell window, which in mediaeval periods allowed the ringer of the Sanctus bell to see around the Rood Display screen to the most important altar.

Stained Glass
The 19th century stained glass in the course of the church is of fascination simply because of the topics represented as very well as the makers and artists associated.

The West window of the North aisle is explained in The Well-liked Guidebook to Suffolk Churches as becoming “a pretty horrible products of Ward and Hughes and options an outlandishly dressed centurion”. What else can be reported? Beauty is of course in the eye of the beholder.

The East window of the North aisle depicting two angels towards patterned quarries is of curiosity since of its area connections. It was made and painted by Mary and Bessie McKean of Saxmundham in 1872 and put in by Mr Howlett, a Saxmundham glazier.

The Victorian tour de drive is certainly the West window of the South aisle, developed by the Dowager Marchioness of Waterford, a buddy of the poet John Ruskin, and a nicely regarded artist and ebook illustrator. The glass is by O’Connor and Taylor and illustrates Jesus’s ascension into heaven, in amazing color. Jesus stands in the centre, and the disciples kneel on both side. The drama of the scene is enhanced by the quality of the artist’s operate and in distinct the facial options.

Pews and Pulpit
The present pews and pulpit day from the restoration of 1873 and are created from New Zealand kaurie pine. They exchange the outdated box pews which were being so tall that a lot of folk using them could neither see nor be found.

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

For the duration of the Georgian era, or possibly just before, the roof was covered in with a flat plaster ceiling. A church manual guide of 1855 states that at the time only the “ends” of the roof were visible beneath the ceiling and that the total inside was disfigured by galleries.

Happily the ceiling was taken off 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 ancient woodwork is considerably less brown in overall look than the contemporary. The figures beneath the wall posts are mainly authentic.

The Chancel

Just one of the most unique functions of St John’s is its weeping chancel. If you stand in the nave centre aisle and look to the altar, you will observe that the Chancel is built at a pronounced angle to the nave. This is quite frequent in churches designed in the condition of a cross (cruciform) but is pretty scarce in a church of this variety. The most important aspect is not the angle, which is a great deal better than usual, but that it is to the South.

Other churches with weeping chancels incline to the North, representing Jesus on the cross with his head towards the penitent thief on his ideal. In this article it is to his left, signifying that Jesus died for the impenitent as nicely as the penitent. Saxmundham church is a person of the several in Europe to have this function.

The Chancel arch and the two bay arcade North and South have been changed as part of the 1873 restoration, but we assume that the restorers copied the original forms (Embellished style)

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 2016-11-14 17:45:10

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

#furniture #Do it yourself #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wooden craft, wooden planer, fine woodworking, wooden chairs, wooden doing the job applications, well-known woodworking, woodworking guides, woodworking workbench programs

I was previous at St John 1 chilly Boxing Day morning, on 1 of all those dutiful outings to see Mother at Christmas. At just right after dawn, it was locked, but seemed a wonderful church and one particular to revisit.

So it was previous Thursday, touring back to Suffolk, I arrived at Saxmundham as the solar was environment, setting the fine church tower bathed in heat golden gentle.

As I stopped to choose a shot of the tower, I was unaware of the vicar seeking to get past in his car, but he was patient as I go my shot.

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

———————————————–

Saxmundham is a great city about midway involving Ipswich and Lowestoft. The A12 now bypasses it, which was unlucky for a while due to the fact, like lots of tiny towns in that condition, it misplaced the passing trade which experienced been one of the factors for its existence. Saxmundham, or ‘Sax’ as locals contact it, grew to prominence in the 18th and 19th centuries, and it nonetheless has the character of a Victorian railway town, particularly all-around the station. But it is not a tourist town, contrary to its great rival Framlingham, or ‘Fram’, just across the A12.

I like Saxmundham a large amount there is an air of resilience about the area, and any little town with two next hand bookshops have to have some thing heading for it. What it does skip is a dominating medieval church, since St John the Baptist is absent from the most important street on the street to Leiston.

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

There is a crisp 19th century sense to the church, mainly because it was subject matter to an 1870s restoration at the palms of Diocesan architect Richard Phipson. Having said that, Phipson was much more delicate to the need to maintain medieval survivals than his successor Herbert Inexperienced, and so the church has loads of fascinating points to see. Nonetheless, Phipson wasn’t higher than generating them additional medieval than they already were being, and so the font, one particular of the ideal Suffolk examples of the 15th century East Anglian model, is comprehensively recut. There are intense minor wild adult males all-around the base, and just one of the shields attributes the instruments of the passion.

Probably the most intriguing survival below, and a scarce one, can be noticed in the most easterly windows of every of the clerestories. These are the stone corbel ledges that once supported the canopy of honour in excess of the rood. They are equally carved elaborately, and the northern one is castellated. Sancta Johnannes, Ora Pro Nobis (‘St John pray for us’) is carved in a banner along that on the south facet.

Even with these medieval survivals, the most crucial artistic artefacts here are in the east window of the south aisle. This is a assortment of ovals of 17th century glass thought to arrive from Innsbruck, depicting Saints and biblical scenes. It is of excellent good quality, and fascinating to seem at. In truth, apart from the very poor east window there is a good collection of Victorian glass listed here as nicely. I spent about 50 percent an hour documenting it all meticulously, and then misplaced the memory card from my digicam that experienced all the visuals on. And so, I will have to go back. Sorry.

Simon Knott

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

————————————————

The church is considerably changed from the first church which was recorded in the Domesday Survey of 1086. Little proof of this Norman or possibly Saxon church remains, though some masonry to be seen in the decrease stage of the tower might be of this date.

We also know that the church had a South porch that contained a uncomplicated 11th century doorway. Sad to say, the porch and doorway disappeared in a big restoration and rebuilding in 1873. Nonetheless, we do have a image of the porch from an etching in 1848.

Much of the church that we see nowadays stems from the 19th century restoration but the church continue to consists of a lot of primary items of an before date.

The Western tower (14th century) has diagonal buttresses at its western angles. The two gentle belfry windows and the identical west window are in the Adorned fashion of the early 14th century. The restored west doorway is also of this date, while some of the masonry in the reduced aspect of the tower is organized in different ways from the relaxation and might have fashioned component of the 11th century church.

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

The tower is residence to a peal of six bells. A few of these bells were forged c. 1480-1 510 by John Kebyll of London. Another 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 next 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 observed in the churchyard on the tombstone of John Noller (1725), which can be found south west of the church ways and in 8 yards. The east and west faces of the tombstone are little, inclined oblong recesses which variety a basic and imaginative sundial. Just about every sundial wants a pointer or gnomon projecting in front of the dial to cast a shadow on to a marked scale. Any these projection reduced down on a tombstone would certainly, faster or later, be destroyed. To protect against this occurring, the designer of John Noller’s headstone hit 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 1 facet (east experience) and an evening a single on the other (west face). If you glance in the recesses on both equally 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 instant of midday each individual dial is entirely in shadow.

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

And why was it carried out? Perfectly, 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 dwelling, that our time quickly passes. Or probably it was picking up on a further considered about time from the Bible:

“There is a time for anything, and a year for just about every
exercise beneath heaven: a time to be born and a time to die,”
(Ecclesiastes 3:1-2)

The Nave

The Font c 1400
This is a typical East Anglian style 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 a few crowns of East Anglia (North). The bowl of the font is unique.

The Nave c 1500
Internally the constructing is harmonious, light-weight and nicely-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 six two light-weight 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 consists of the only piece of medieval glass, the head of an angel, to survive in this church. Earlier mentioned the ringing chamber is a substantial Sanctus bell window, which in mediaeval instances permitted the ringer of the Sanctus bell to see above the Rood Display screen to the most important altar.

Stained Glass
The 19th century stained glass through the church is of curiosity due to the fact of the topics represented as effectively as the makers and artists involved.

The West window of the North aisle is described in The Well-liked Tutorial to Suffolk Church buildings as remaining “a rather awful item of Ward and Hughes and attributes an outlandishly dressed centurion”. What else can be explained? Elegance is certainly in the eye of the beholder.

The East window of the North aisle depicting two angels against patterned quarries is of interest because of its local connections. It was intended and painted by Mary and Bessie McKean of Saxmundham in 1872 and mounted by Mr Howlett, a Saxmundham glazier.

The Victorian tour de power is clearly the West window of the South aisle, intended by the Dowager Marchioness of Waterford, a close friend of the poet John Ruskin, and a very well recognised artist and e-book 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 possibly aspect. The drama of the scene is improved by the excellent of the artist’s perform and in particular the facial functions.

Pews and Pulpit
The present pews and pulpit day from the restoration of 1873 and are produced from New Zealand kaurie pine. They switch the outdated box pews which were so tall that many folks working with them could neither see nor be seen.

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

Throughout the Georgian period, or probably right before, the roof was included in with a flat plaster ceiling. A church guideline book of 1855 states that at the time only the “finishes” of the roof were being visible under the ceiling and that the full inside was disfigured by galleries.

Happily the ceiling was taken out 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 ancient woodwork is a lot less brown in appearance than the modern-day. The figures beneath the wall posts are mainly original.

The Chancel

A single of the most distinctive capabilities of St John’s is its weeping chancel. If you stand in the nave centre aisle and look to the altar, you will discover that the Chancel is developed at a pronounced angle to the nave. This is fairly frequent in churches constructed in the form of a cross (cruciform) but is very scarce in a church of this variety. The primary aspect is not the angle, which is a great deal better than regular, but that it is to the South.

Other church buildings with weeping chancels incline to the North, symbolizing Jesus on the cross with his head to the penitent thief on his correct. In this article it is to his still left, signifying that Jesus died for the impenitent as nicely as the penitent. Saxmundham church is 1 of the handful of in Europe to have this feature.

The Chancel arch and the two bay arcade North and South were being replaced as portion of the 1873 restoration, but we imagine that the restorers copied the original types (Adorned model)

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

www.saxmundham.org/aboutsax/parishchurch.html

Posted by Jelltex on 2016-11-15 06:47:31

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

#home furnishings #Do-it-yourself #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wood craft, wood planer, high-quality woodworking, wooden chairs, wooden operating tools, well known woodworking, woodworking textbooks, woodworking workbench designs

I was past at St John one chilly Boxing Working day early morning, on one particular of those dutiful journeys to see Mother at Xmas. At just after dawn, it was locked, but looked a fine church and a single to revisit.

So it was very last Thursday, traveling back to Suffolk, I arrived at Saxmundham as the sunshine was setting, setting the good church tower bathed in warm golden light-weight.

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

He was ready for me at the porch, and prompt I hurry within to see the windows that had been illuminated by the sunlight, this I did.

———————————————–

Saxmundham is a fantastic city about halfway concerning Ipswich and Lowestoft. The A12 now bypasses it, which was unfortunate for a though simply because, like several compact towns in that problem, it shed the passing trade which had been just one of the reasons for its existence. Saxmundham, or ‘Sax’ as locals connect with it, grew to prominence in the 18th and 19th centuries, and it continue to has the character of a Victorian railway town, specially close to the station. But it is not a vacationer city, not like its wonderful rival Framlingham, or ‘Fram’, just throughout the A12.

I like Saxmundham a whole lot there is an air of resilience about the area, and any tiny town with two 2nd hand bookshops must have something heading for it. What it does skip is a dominating medieval church, since St John the Baptist is away from the principal road on the street to Leiston.

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

There is a crisp 19th century experience to the church, because it was subject matter to an 1870s restoration at the palms of Diocesan architect Richard Phipson. On the other hand, Phipson was far more sensitive to the want to protect medieval survivals than his successor Herbert Green, and so the church has plenty of intriguing issues to see. Nevertheless, Phipson wasn’t previously mentioned generating them a lot more medieval than they now were being, and so the font, one particular of the very best Suffolk illustrations of the 15th century East Anglian fashion, is completely recut. There are aggressive tiny wild men close to the base, and a single of the shields functions the devices of the passion.

Most likely the most attention-grabbing survival in this article, and a scarce 1, can be observed in the most easterly windows of every of the clerestories. These are the stone corbel ledges that once supported the canopy of honour more than the rood. They are both equally carved elaborately, and the northern a person is castellated. Sancta Johnannes, Ora Pro Nobis (‘St John pray for us’) is carved in a banner along that on the south side.

Regardless of these medieval survivals, the most crucial creative artefacts listed here are in the east window of the south aisle. This is a selection of ovals of 17th century glass believed to appear from Innsbruck, depicting Saints and biblical scenes. It is of great high quality, and interesting to glance at. In fact, apart from the poor east window there is a good selection of Victorian glass below as effectively. I invested about 50 percent an hour documenting it all meticulously, and then dropped the memory card from my digicam that experienced all the illustrations or photos on. And so, I will have to go back. Sorry.

Simon Knott

www.suffolkchurches.co.uk/saxmundham.html

————————————————

The church is a great deal transformed from the original church which was recorded in the Domesday Study of 1086. Minor evidence of this Norman or probably Saxon church continues to be, while some masonry to be found in the reduce phase of the tower may perhaps be of this date.

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

Much of the church that we see today stems from the 19th century restoration but the church nonetheless incorporates a lot of original objects of an previously day.

The Western tower (14th century) has diagonal buttresses at its western angles. The two gentle belfry windows and the identical west window are in the Decorated model of the early 14th century. The restored west doorway is also of this date, though some of the masonry in the reduce element of the tower is arranged otherwise from the relaxation and might have shaped aspect of the 11th century church.

The clock was supplied 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 significant head at the centre of the west facet and a gargoyle head on the south aspect.

The tower is household to a peal of six 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, built in 1762. The ring was completed 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 ended up 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 found south west of the church measures and in 8 yards. The east and west faces of the tombstone are compact, inclined rectangular recesses which form a very simple and imaginative sundial. Just about every sundial requirements a pointer or gnomon projecting in entrance of the dial to forged a shadow on to a marked scale. Any these kinds of projection small down on a tombstone would unquestionably, quicker or later on, be weakened. To reduce this occurring, the designer of John Noller’s headstone hit on the ingenious concept of earning the edge of the headstone’s area the gnomon and obtained the relative projection by recessing the dial.

As the stone faces east and west, he carved a morning dial on just one facet (east confront) and an evening a single on the other (west encounter). If you seem 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 due to the fact at the instant of noon each individual dial is wholly in shadow.

You will also discover 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 issue specifically to the north star, or in other phrases, be parallel with the earth’s axis.

And why was it accomplished? Well, we are not guaranteed, 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 selecting up on a different considered about time from the Bible:

“There is a time for all the things, and a time for just about every
exercise 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 normal East Anglian structure with octagonal panelled bowl carved with lions interspersed with angels holding shields on which are exhibited 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 primary.

The Nave c 1500
Internally the constructing is harmonious, mild and nicely-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 clerestorey home windows.

At the West end of the nave is the comparatively modern-day 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. Earlier mentioned the ringing chamber is a large Sanctus bell window, which in mediaeval moments allowed the ringer of the Sanctus bell to see over the Rood Monitor to the major altar.

Stained Glass
The 19th century stained glass all through the church is of desire due to the fact of the subjects represented as well as the makers and artists associated.

The West window of the North aisle is explained in The Preferred Guideline to Suffolk Churches as getting “a relatively awful solution of Ward and Hughes and options an outlandishly dressed centurion”. What else can be mentioned? Elegance is of course in the eye of the beholder.

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

The Victorian tour de drive is certainly the West window of the South aisle, created by the Dowager Marchioness of Waterford, a close friend of the poet John Ruskin, and a perfectly known artist and reserve illustrator. The glass is by O’Connor and Taylor and illustrates Jesus’s ascension into heaven, in good color. Jesus stands in the centre, and the disciples kneel on either facet. The drama of the scene is increased by the high-quality of the artist’s function and in individual the facial characteristics.

Pews and Pulpit
The current pews and pulpit day from the restoration of 1873 and are designed from New Zealand kaurie pine. They replace the old box pews which were being so tall that lots of folk employing them could neither see nor be viewed.

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

All through the Georgian era, or possibly just before, the roof was protected in with a flat plaster ceiling. A church guide reserve of 1855 states that at the time only the “ends” of the roof had been noticeable underneath the ceiling and that the whole inside was disfigured by galleries.

Fortunately the ceiling was taken out in 1932 to expose this splendid roof. It has been restored and the wall plates have been renewed, as have quite a few of the other timbers. The historic woodwork is fewer brown in overall look than the modern. The figures beneath the wall posts are typically first.

The Chancel

One of the most distinct options of St John’s is its weeping chancel. If you stand in the nave centre aisle and appear toward the altar, you will detect that the Chancel is created at a pronounced angle to the nave. This is reasonably popular in church buildings built in the shape of a cross (cruciform) but is incredibly uncommon in a church of this variety. The major element is not the angle, which is significantly higher than usual, but that it is to the South.

Other church buildings with weeping chancels incline to the North, symbolizing Jesus on the cross with his head towards the penitent thief on his proper. Below it is to his remaining, signifying that Jesus died for the impenitent as nicely as the penitent. Saxmundham church is one particular of the couple of in Europe to have this feature.

The Chancel arch and the two bay arcade North and South were replaced as component of the 1873 restoration, but we believe that the restorers copied the first kinds (Embellished fashion)

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

www.saxmundham.org/aboutsax/parishchurch.html

Posted by Jelltex on 2016-11-14 06:38:49

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

#furniture #Do-it-yourself #woodwork #woodworking #freedownload#woodworkingprojects #woodsmith ,wooden craft, wood planer, high-quality woodworking, picket chairs, wooden operating tools, popular woodworking, woodworking books, woodworking workbench designs