October 14, 2010
in East Sussex, is a must on the itinerary for visitors to Charleston and all things Bloomsburyish. There is a pub . . .
. . . maybe the foliage will hide the light soon. At the base of the sign post, a clutch of fungi denote the damp conditions and the lush growth on the turf . . .
. . and a metal gate that hasn’t been updated yet . . thank goodness . . .
. . and on the way to the church I caught a glimpse of a crab, probably Malus ‘Golden Hornet’, beautifully silhouetted and with much to show off at this time of year . . .
. . entering the churchyard there is a view across the fields to the north. A kissing gate is an enticing entry to the paddock . . .
. . and this well crafted grave stone would have made Jeremy proud, I’m sure . . .
. . inside the Saxon and Norman church are the famous murals and a simple arrangement of pyracantha with some rosy apples tucked away at the base of the stems.
The ‘nativity’ scene is quite realistic in the context of the setting with a real Sussex barn and local children and a child Bell posing in their Sunday best. Check out the initial sketches on the highlighted website – they are quite majestic . . .
. . . and the pulpit repainted by Duncan Grant with bright light coming through the south facing windows . . .
. . and The Supper at Emmaus’ painted by Quentin Bell – live models again and a truthful and wonderfully dominant background of The Downs . . .
. . . just turning to look out at the view again and I’m reassured that a sense of beauty still exists and Fauré ‘Libera Me’ for someone who is thought well about this week.