They are also billed for glucose monitors, lancets, lancet devices, test strips, pumps, insulin coolers, syringes and other supplies.
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It's a four-piece set that includes standard test strips, a lancing device, Lancets and a connected Bluetooth meter.
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And people who use the Gmate smart blood glucose monitor can have their lancets and blood testing strips reordered for them regularly.
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The home finger-prick kit comes with a set of clear instructions and several spare lancets in case you have trouble drawing enough blood.
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They also reuse one-time-use medical supplies, such as lancets that prick fingers to test blood sugar and needles to inject insulin, despite the risk of infection.
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Livongo was founded in 2014 and started with technology that employees with diabetes can use to manage their disease, such as connected glucose meters, test strips and lancets.
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And Gmate's SMART Blood Glucose Meter, which connects with a smartphone for its blood sugar testing service, will also include a feature that sends you more testing strips and lancets when your supplies run low.
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Next came the dreaded "medical extraction," which was the part I was super nervous about, considering many aestheticians use lancets (small, sharp surgical needles) to open the pore, which can cause scarring if not done correctly.
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The package includes a connected glucose meter and unlimited lancets and test strips, and the company offers coaching and tips through its apps to help people stay healthy, which might result in cost savings for the employers footing the bill.
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It even comes with cotton swabs, facial lancets, finger cots, and skin-clearing advice: "I was compelled to create [it] since so many people are treating their blemishes incorrectly —making them last way longer than they are meant to," she says.
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Along the clerestory are triple lancets. In the north and south walls of the transepts are paired lancets, and a quatrefoil above. There are flying buttresses between the east ends of the transepts and the nave. Each bay of the chancel contains a pair of lancets, and there are three stepped lancets at the east end.
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Along the sides of the nave are six lancet windows. At the east end are three stepped lancets, and single lancets on the sides of the chancel.
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Lancets are used to make punctures, such as a fingerstick, to obtain small blood specimens. Blood lancets are generally disposable. Lancets are also used to prick the skin in skin testing for allergies.Abstract: The Allergy Pricker A blood-sampling device, also known as a lancing device, is an instrument equipped with a lancet.
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At the top are squat pyramidal pinnacles, and a broach spire surmounted by a weathervane. The window at the west end of the church has two lights and contains plate tracery. Along the wall of the south aisle are triple lancets with roundels above. On the north side the windows are either triple lancets, or double lancets with roundels.
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The upper part dates from the 1807 rebuilding, it is in brick, and has a battlemented parapet. The west door is Norman and is decorated with zigzags. The windows in the nave are lancets dating from the 14th and 19th centuries. The chancel has paired lancets in the east wall, and two separate lancets in the north wall.
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The apsidal sanctuary has an east window of five lancets.
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The vestry has an east window of five stepped lancets.
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Surmounting the tower is a broach spire with two tiers of lucarnes. Along the sides of the aisles are buttresses and paired lancet windows, and the clerestory has pilasters and small triple lancets. In the west wall of the nave are buttresses and two tall lancets. The transepts each have three very narrow lancets with a circular window above them.
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At the request of The Lancets editor-in-chief Egbert Morland, the RAMC released Fox to return to editorial work at The Lancets wartime office in Aylesbury. In 1944 Morland retired and Fox became The Lancets editor-in-chief. Fox was elected FRCP in 1946. He was heavily involved in the discussions and controversies concerning the establishment of the National Health Service.
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At the east end are two lancets separated by a large shaft.
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Most of the windows in the body of the church are lancets.
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Using any other lancets may damage the finger pricker or impair its function.
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Which other lancets are compatible for use with Accu-Chek Softclix Plus finger pricker?
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On the gables are wrought iron cross finials. At the west end of the aisles are paired lancets. Along the sides of the aisles are triple lancet windows in each bay, between which are buttresses. The clerestory windows are wide single lancets.
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Above these is a Lombard frieze under a coped parapet with corner pinnacles. On the summit of the tower is a pyramidal roof surmounted by a cross. The nave contains lancet windows. In the transepts are stepped triple lancets with single lancets on the sides.
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Surmounting the tower is a castellated parapet with corner pinnacles. Along the sides of the church are paired lancets, separated by stepped buttresses. At the east end are three stepped lancets. The church is entered from the north side, through a concrete parish centre that was added in 1980.
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The church is extremely simple in design. It is oblong in shape, 96 feet long and 26 feet wide internally. The windows are tall lancets. In the east gable there are four lancets equal in height, and similar openings appear in pairs between all the buttresses around the wall.
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The nave and aisles are in seven bays. The bays of the aisles are separated by buttresses rising to pinnacles, and each bay contains a pair of lancet windows. Each bay of the clerestory also contains a pair of lancets. The east window consists of five stepped lancets.
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The modest 1871 building is a simple hall with buttressed brick walls and a steeply pitched corrugated iron roof. It has single triangular head lancet windows between buttresses to the side walls. The south-eastern elevation, formerly the "front" elevation to Ann Street, has a central pointed arch entrance, flanked by paired lancets, with a group of three lancets to the pinnacle of the gable. The north-western elevation has two pointed arched entrances and a group of three lancets.
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Over the east crossing is a lead-covered flèche. The windows are either lancets or have plate tracery.
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A further bay, with its gable end facing parallel to the street (The Burys), has stepped lancet windows in its side elevation and paired lancets on both storeys. Attached to the rear of this is a two-storey polygonal section with buttresses marking each angle and triple lancets to each storey.
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The chancel has two lancets in the south wall, and a triple stepped lancet window at the east end.
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The circuit is clockwise, from the north side of the nave, the south transept, the choir, the apse, the north transept and finally the south side of the nave. Those in the nave and transepts are made up of two lancets and an eight- lobe rose window, whilst those in the choir are made up of two facing lancets below a rose and those in the apse are made up of single lancets. One has to cross the choir to see the windows behind the high altar.
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In the south wall, to the east of the porch, is a lancet window and a two-light window under a pointed arch. The chancel has two small lancets in the south wall, one similar window in the north wall, and two taller lancets in the east wall. The porch contains stone benches.
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High in the nave gables are two small rose windows. The sides of the aisles are lit by small lancets.
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The tower is in Perpendicular style. The nave windows are wide and slightly pointed; those in the chancel are lancets.
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The windows in the chancel are lancets from the early 13th century, and a 15th-century squint is also present.
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The windows in the nave are triple lancets; those in the apse are double lancets, the east window having its base higher than the lateral windows. The windows in the aisle have either two or four lights. Inside the church is a four-bay arcade. In the chancel is an opus sectile reredos made by Powells.
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The tower is partly embraced by gabled pseudo-aisles, and is in two stages. The lower stage contains a west door, above which are lancets and gables. From this rises an octagonal drum containing a belfry with lancets, and over this is a short octagonal spire. At the east end is a stepped triple lancet window.
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A transept with lancets and a steep roof similar to the church's main block is at the rear. The one-and-a-half-story parish hall projects from the south. It also has a steep gabled roof, and is decorated with hood moldings on the windows. Narrow lancets also light the single-story connector to the bell tower.
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Its left capital is decorated with leaves, and the right capital with scallops. The south wall of the chancel contains two lancets, a two-light window, and a round-headed priest's door. The east window in the chancel has three lights, and in the north wall are two round-headed lancets. The organ chamber also has lancet windows.
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They have long, spatulate lancets. The lateral margins of the lancet are concave. The forearm of this species measures . Their skulls are long.
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Parish Church 1844: brick with Welsh slate and stone slab roofs, stone dressings, coped gables with kneelers. Nave with apse, gabled porch, bell turret. East front has central porch with coped gable and cross, four centred archway doorway with label mould and close boarded door flanked by two double lancets with Y tracery. Apse has 3 singlet lancets and pitched roof.
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Each side of the first floor of the tower features a grouping of three lancets, with a single lancet window flanked by blind lancets. The bell chamber, at the second floor of the tower, has four pairs of lancet windows. The spire has four lucarnes and a pinnacle trimmed with ashlar crockets. The church roof is tiled, the gable ends capped with stone.
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There are five windows in each storey, and a rose window in the gable above. At the corners of the east end are gabled projections containing stairs and a doorway. At the east end, the aisles have paired lancets, and a doorway at the lower level. The chancel east window consists of three stepped lancets, with a rose window above.
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688 Both males and females are significantly larger than individuals of P. furculus.Ranivo and Goodman, 2006, pp. 969–970 On its face are the three lancets at the back of the noseleaf that are characteristic of Triaenops and Paratriaenops. As in P. furculus, the three lancets are straight and about equal in length; in Triaenops, the middle lancet is longer and the outer two are curved.
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Along the sides of the nave and the south aisle are lancet windows. The aisle also has a priest's door, coupled lancets in the east gable, and triple lancets in the west gable. The chancel has two-light windows on the sides, and a large five- light east window. All the gables contain a quatrefoil window towards the apex, and are surmounted by a stone cross.
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Over this is a five-light window with Decorated tracery. The porch is canted, and has a doorway with lancet windows above it. Along the sides of the aisles each gabled bay contains three lancets and a two-light Decorated window above. On the north and south sides of the transepts are two groups of three lancets, with a four-light Decorated window above.
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Above is a large six-light pointed arch window with geometric tracery, which has to its right a triple lancet flanked by single blind lancets, topped by a quatrefoil pierced parapet. A small semi-circular apse with a row of 7 upper lancets is to the left of the main window. Above that, the square tower has a pair of lancets, then a moulded string course, a bell stage with a single lancet to each face topped by a tall crocketed gable, and a stone octagonal spire rises several further metres. Internally, slender iron columns supporting the wooden roof divide the nave and aisles.
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The church is constructed in brick. Its windows are lancets, with a triple lancet at the west end. Also at the west end is a gabled bellcote.
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The east face has a set of five grouped together between two buttresses. The Lady chapel has a similar group of three on its east side—with stained glass by Charles Eamer Kempe—and three single lancets in the south face. The west face, above the entrance, has three paired lancets with small quatrefoil windows above them. The chancel and Lady chapel have vaulted wooden ceilings with corbelled supporting arches.
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The later vestry on the north east of the building is in a similar style. The west front has a tall central window featuring a pair of lancets and roundel, and a single lancet to each side, with pinnacles at the corners. There are low aisles on either side of a long nave of five bays. At the east end are three lancets and two roundels, also with pinnacles.
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The chapel contains an altar in white stone with statues of saint Michael, saint Sebastian and saint Louis wearing a crown of thorns. In this chapel is another window by Henry Ely which dates to 1876. It comprises 3 lancets and a tympanum. The lancets hold the images of the three saints and the tympanum depicts the Virgin Mary being blessed by Jesus and a group of angels and cherubs.
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J. Potter Briscoe. 1888 It had narrow lancets, a broad tower, and a tall broach spire. At their western ends the aisles terminated in two low octagonal turrets.
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The clerestory to the nave has paired leadlight lancets set in a pointed arch recess. The southwestern side has a concrete ramp with metal handrail accessing the arcade. The rear of the building has less decorative mouldings with buttresses separating two leadlight windows, each of which consists of tall paired lancets either side of the central altar. A circular leadlight window with central quatrefoil is located at the top of the gable.
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Also in the chancel are a restored sedilia, piscina (both 13th-century, and on the south wall), pulpit of stone, a modern altar, and a reredos and panelling dating from 1921. Most windows are lancets; some date from the 13th century, and most contain plain glass. Two stained glass windows depict St Francis of Assisi and St Nicolas. The east end windows consist of two tall, narrow lancets below a sexfoil (six- lobed window).
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Along the sides of the aisles are pairs of lancets between buttresses. Each side of the clerestory contains 15 lancet windows. The west end has five lancet windows and an ambulatory.
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The east window consists of five stepped lancets. On the south side of the chancel is a priest's door. The interior has been altered, but three panelled galleries have been retained.
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The windows are paired lancets. Inside the church are galleries on three sides. The galleries and the nave arcades are supported by octagonal columns. The organ is in the west gallery.
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The nave walls contain three-light square-headed windows. Only the gable ends of the transepts are standing. In the north transept gable is a window of three stepped lancets, and in the south gable is a three-light Perpendicular window. The west wall of the chancel contains three lancet windows, the east wall a three-light Perpendicular window, and the south wall a two-light window with Y-tracery, a priest's door and a pair of lancets.
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The church is constructed in stone with slate roofs. Its plan consists of a six-bay nave without aisles and a short chancel, an octagonal north vestry, and an embraced west tower. The tower is in four stages. In the bottom stage are triple lancet windows flanked by single lancets; there are three stepped lancets in the second stage; a clock (moved from the town hall) in the third stage; and paired lancet bell openings in the top stage.
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St Michael's is constructed in Pwntan sandstone quarried locally at Tan-y-Groes, and has slate roofs. Its plan consists of a nave, a north aisle, a south porch, and a chancel. At the west end is a stepped single bellcote with a coped gable, and at the northwest is a small octagonal turret. The windows are all lancets, with a three-light east window and a two narrow lancets at the west end of the nave.
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Some health care policymakers still resist the idea that the society would be well advised to pay the consumables (reagents, lancets, etc.) needed. Home glucose testing was adopted for type 2 diabetes more slowly than for type 1, and a large proportion of people with type 2 diabetes have never been instructed in home glucose testing. This has mainly come about because health authorities are reluctant to bear the cost of the test strips and lancets.
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The bell openings are pairs of lancets. Along the sides of the church are two tiers of windows. The tower and the body of the church have embattled parapets and crocketed pinnacles.
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The south doorway contains a door dated 1648. In the chancel are lancet windows and two-light windows containing Y-tracery. The east window consists of three stepped lancets under one arch.
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The Lancets six editors, including the editor-in- chief, were also criticised in 2011 because they had "covered up" the "Wakefield concocted fear of MMR" with an "avalanche of denials" in 2004.
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The clerestory windows are of double cusped lancets. There is a tall crenellated south porch with flushwork arcading and diapering. It has niches left and right. There is a similar north porch.
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The Lancet paper was partially retracted in 2004 and fully retracted in 2010, when Lancets editor-in-chief Richard Horton described it as "utterly false" and said that the journal had been deceived.
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In the nave there are doors in the north and south walls of Norman origin. The north door has a round-headed arch, but the south door was altered in the 14th century, giving it a pointed arch. To the right of the south doorway is a buttress and a window of paired lancets, and to its left is a 14th-century two-light window. The clerestory has three straight-headed windows on each side; these are also paired lancets.
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In the second half of the 13th century the bell tower was added at the west end of the north aisle and the present east window of three lancets was inserted in the chancel. A chapel forms an eastward continuation of the north aisle. Two of its windows are original 13th-century lancets; two square- headed windows were added in the 14th century and the east window of the chapel is modern. The Gothic Revival architect G.E. Street restored the building in 1868.
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The outer lancets depict Jean le Scaff and his wife. The "fires of hell" window of three lancets depicts the last judgement with saint Michael looking down on the fires of hell with demons and some of the damned squirming in torment. A sign on a column reads " Domine, in nomine tuo daemonia subjiciuntur nobis" and below that "Et cruciabuntur igne et sulfure angelorum in conspectu". In the first lancet, that on the left, John the Baptist is shown presenting Jean le Scaff.
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There are three bays with buttresses at the gable ends and a three-light east window has a hood mould with foliated stops and continuous sill string. Pointed windows, without tracery, are located at the north-east and south-east ends. The north transept gable end has four cusped lancets beneath a rose window. The vestry projects from its east side elevation and has three cusped lancets, a door facing north and a rose window in its east gable end.
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The nave is Decorated style, and the tower is Perpendicular. The tower has a west doorway with a window above it. In the top stage are bell openings consisting of pairs of louvred lancets.
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The tower is in three stages, and has clasping buttresses. It has a north doorway with a pair of lancets above. The bell openings are in triple arches, and there are lucarnes on the spire.
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There are 44 upper windows (0 to 43). Except the seven windows of the apse (each consisting of a single lancet) and those in bay 132 (whose lancets were walled-in in the 16th century to install the main organ), all the base of the upper level are made up of 2 lancets below a rose, which brings the number of windows to 68. The small rose windows to the south and north are each counted as a single window due to their specific composition.
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There is a moulded and pointed arched north doorway with carved head labels to hoodmould, the door itself is plank wood from the 19th century. The porch has moulded 4-centred archway in parapet gable with diagonal corner butresses with small chamfered square-headed side windows, these were restored in the 19th century. There are 2 plain chamfered English Gothic architecture nave lancets to left of the porch. There are 3 lancets on the north and south nave walls, with 18th century wall memorials positioned between them.
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The plinth at the northern, most recently constructed, end of the church is constructed from smooth rendered concrete. The southern, entrance facade has an almost triangular facade due to the overhanging eaves of the steeply pitched roof and squat side walls. This elevation is dominated by a centrally located tripartite window comprising three lancets filled with stained glass and with stuccoed sills and heads and all embraced by a cream brick pointed arch. Flanking the principal window are smaller lancets, with similarly detailed heads and sills.
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These are the oldest still-functioning organ pipes of Alsace.Orgue de Rouffach, Notre-Dame The rose window of the façade (14th century) is, by the number of lancets composing it (20) as well as by overall design, the most complex in Alsace, before the much larger one of Strasbourg Cathedral, which has only 16 lancets. Apart from the baptismal font, the tabernacle and the tombstone of the knight Werner Falk, all three in an ornate Gothic style, the rest of the interior furnishing is mainly Neo-Gothic.
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The lower jaw had five longer teeth and thirty to forty tiny, flattened pointed teeth, shaped like lancets."Dimorphodon." In: Cranfield, Ingrid (ed.). The Illustrated Directory of Dinosaurs and Other Prehistoric Creatures. London: Salamander Books, Ltd.
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They show the transition from Norman architecture to the Early English Style. The piers are Norman in character with foliated capitals from which spring pointed arches. The four clerestory windows on either side of the nave are examples of Early English lancets, whilst the two long lancets of the west wall are part of the nineteenth-century restoration. The chancel, which is separated from the nave by an Early English arch, is approached by a flight of steps, necessitated by the sloping nature of the site on which the church is built.
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Of the surviving medieval fabric the blind arcading of the chancel is of particular note as are the north and south lancets and viscae of the East Wall. The central lancets are a conjectural restoration. There is a very fine medieval episcopal effigy by the font and the remains of some pillars of the quire arcade are to be seen in the walls to the west of the new chancel arch. The eighteenth or early nineteenth century west tower may well be on the site of a crossing of the mediaeval cathedral.
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St Matthew's is constructed in rock-faced stone with ashlar dressings and a tiled roof. Its plan consists of a four-bay nave, a south porch, a three-bay chancel, a north transept, and a turret in the angle in the north corner of the nave and transept. The west window, the east window, the nave and transept windows are all triple lancets, and along the sides of the chancel are paired lancets. The turret is octagonal and has a pointed entrance, louvred bell openings, and a slate spirelet surmounted by an iron cross.
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The nave of the church is framed on this elevation by attached buttressing which projects above the roofline and terminates in pinnacles decorated with crockets. On the face of the side aisles, flanking this central bay of the church, are traceried window openings, comprising two trefoiled lancets and quatrefoils above. Over the central entrance of this facade is a large traceried window comprising four lancets and three foiled windows above. Surmounting the apex of the gable on this elevation is a stone finial-like element which comprises a circular disc with a quatrefoil cutout.
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On each face of the octagonal base and drum are round arched openings infilled with small fixed timber louvres. Other narrow round arched openings, like lancets, on the face of the buildings are also infilled with similar louvres.
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The chancel is probably largely the result of 18th- and 19th-century rebuilding. The east wall contains a five light 15th-century style stained glass window, and the south and north walls with a two-light window each, the north with geometrical tracery. In the south wall are the remains of a 13th-century priest’s doorway with a trefoil head. During Scott’s 1860 additions, what is now the north aisle west window of four lancets, contemporary with the 13th-century geometrical nave west windows, was re-sited from the original north wall of the nave. The aisle also contains Scott’s run of four windows on its long north side, all of three lancets with cinquefoils—lobes formed by the overlapping of five circles—set in a rosette above within a pointed head, and at the east one window of two lancets with a quatrefoil rosette above.
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There are 52 lower windows (0 to 51). At the north and south ends of the ambulatory, six of them are made up of two lancets each under a rose window, bringing the total number of windows up to 64.
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A later wooden vestibule obscures the entry. A narrow lancet is set into the front gable. The shingle roof has a small wooden bell tower over the entry. Side elevations are three bays with lancets set into inset rectangular panels.
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In the top stage are two-light louvred bell openings. The tower has a battlemented parapet, and a pyramidal cap with a weathervane. The nave is in Early English style, its windows being paired lancets. The chancel is in Decorated style.
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All the windows in the body of the church are lancets; in the transepts these are double, and the east window is a triple lancet. There are cross finials on the gables of the transepts and at the east end.
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In the transept are two lancet windows, over which is a quatrefoil window. The apse also contains lancets. Above the walls of the aisles are pierced trefoil parapets. Over the join between the nave and the chancel is a double bellcote.
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269 In the south aisle the window at the east end is of about 1300.RCHM p.270 The easternmost window in the south wall is "a fine triplet of lancets",Pevsner & Williamson p.602 "a very remarkable window"VHCB p.
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Christ Church was constructed in Pennine sandstone from the local Cox Green Quarry with ashlar dressings and a slate roof. Its plan consists of a six-bay nave, with a clerestory, north and south aisles, north and south transepts, and a chancel with an organ loft to the south and a lean-to vestry to the north. The tower is at the west end; it is in three stages, separated by string courses. There are twin lancet windows in the lower stage, single lancets in the middle stage and stepped lancets in the top stage containing louvred bell openings.
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The north wall has two lancets with no glazing (where the north wall of the church is abutting the south wall of the Parish house), and two lancets with stained glass windows. There are a total of eight stained glass windows in the church presenting a series of scenes from the life of Christ, beginning, along the south wall of the church, with the visit of the Magi at His birth, and culminating, at the large, five-paneled lancet window on center of the west wall, with the Ascension of Christ. The window artistry was done by Conroy and Prugh of Pittsburgh, Pennsylvania.
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The main structural features are a simple timber roof with exposed beams and a more intricately decorated chancel arch of the early 14th century, built of clunch. A notable architectural feature of the church is the wide variety of window designs that have survived ("a history in miniature of window architecture"): Norman slits with crude lancet heads give way to taller lancets with Early English Gothic and Decorated Gothic tracery, and later wide lancets. Six styles of window have been identified overall. The three-light east window, the only modern replacement, was put in after its predecessor's tracery gradually disappeared over the centuries.
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In the top stage are louvred lancet bell openings. The spire contains lucarnes on alternate faces. In the angle between the tower and the west wall of the nave is a stair turret. The windows along the sides of the church are lancets.
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Over the entrance is a canopied niche containing a figure of the Good Shepherd. The windows are lancets and the interior has ashlar stone. The windows contain stained glass by Kempe and by E. Frampton. Internally, framing the east window, are mosaic panels.
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Along the sides of the nave the bays are divided by square pilaster buttresses rising to fluted finials. The windows are round- headed. On the sides of the chancel are two-light Decorated windows, and the east window consists of triple stepped lancets.
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The east window is a triple lancet with a stepped hoodmould. On the north side of the chancel are three lancets. The vestry has a pointed-arched east window, and paired lancet on the north side. There are cross finials on the gable ends.
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The tower has five stages with clasping buttresses. In the lowest stage is a west doorway above which is a lancet window. The bell openings consist of louvred three-light lancets. At the top of the tower is a pyramidal roof with a weather vane.
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It has a west doorway under a crocketed gable above which is a tall lancet window. In three sides of the third stage are clock faces. In the top stage are arcades of tall lancets, the outer ones being blind. The parapet is embattled.
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Newman & Pevsner p.460. The transepts have Early English lancets but the north and south windows are three-light Perpendicular additions. The north transept has wall arcades with clustered respond shafts and leaf capitals. The south transept is plainer and houses the church's windpipe organ.
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The West and North transept windows have a curvilinear design - as did the former south transept window - of 4 lights with cinquefoil over. The North aisle has two 3-light windows in brick while the South aisle has two 3-light windows in curvilinearstyle, all in plain chamfered surrounds. In the North chapel, there are two lancets to the west, and two paired lancets with quatrefoils over to east, while the chancel has a 3-light Perpendicular window and a 2-light curvilinear window on the south wall. The chancel east window is a 5-light perpendicular window, while the chapel east window is a 4-light perpendicular window.
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Another, more simple, stair is housed in the southern corner of the building. The chapel, located in north eastern wing of the ground floor of the building is a long room only the north western end of which was originally intended for this use. This end has a coffered timber ceiling with plaster mouldings, grisaille (or non-figured) stained glass panels in tre-foiled lancets and fine timber joinery. A sanctuary, at the north western end of the chapel, is separated by an elliptical headed archway, and houses a small marble altar flanked by single tre-foiled lancets fitted with figured stained glass panels.
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The chancel was rebuilt in the 13th century; this work made it wider than the nave. Lancet windows were added at the same time. A porch was added on the north side at the same time; it also has lancets, and is considered a rare example.
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Box of disposable lancets. Blood-sampling device with a lancet at the tip. A blood lancet, or simply lancet, is a small medical implement used for capillary blood sampling. A blood lancet is similar to a small scalpel but with a double-edged blade or needle.
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The east window in the chancel consists of a triple lancet window, there are three lancets on the south side of the chancel, and one on the north. The vestry has a three-light north window, and a single-light window and doorway to the east.
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The chancel of Holy Trinity parish church. The east wall is filled by an arcade of seven stepped lancets, the middle three of which have windows. Over Worton has had a parish church since at least the 13th century. The earliest known record of it is from 1254.
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There are three lights set into a pointed-arched recess. A similar window is set in the east wall of the Lady chapel. Most of the other windows in the chancel are 13th- and 14th-century lancets, including one that is now blocked. Some are trefoil- or quatrefoil-headed.
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Along the walls of the aisles are groups of stepped lancet windows, two in the west and east bays, and four in the intermediate bays, and doorways towards the western ends. At the east end are buttresses with pyramidal roofs, and the east window consists of five stepped lancets.
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A south porch extends from the fifth bay from the west. The tower has a west doorway above which is a three-light window. The ringers' windows are single lancets, and the belfry windows are of four lights. The top of the tower is surmounted by battlements and pinnacles.
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The bay is surmounted by a double gabled bellcote. There are further lancet windows around the church, the east end having three stepped lancets. At the corners of the church are diagonal buttresses. Above the porch doorway is the carving of the Virgin Mary in a sandstone niche.
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The windows along the clerestory are octofoils. At the west end are gabled buttresses that rise above the level of the roof. In the baptistry are three square windows, four lancets, and an octofoil at the top. The east window consists of a central cross flanked by quatrefoils.
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The tower has paired two-light bell openings on each face over which is a cornice with corbels and a parapet with blind arcading. The east window consists of three lancets and a rose window. The west gallery is still present as are the galleries in the transepts.
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The side aisles each have four 2-light plate tracery lancets. The transepts have large single 4-light plate tracery windows. The chancel has three 2-light plate tracery windows. To the north east, the attached schoolroom has a canted south front with three 2-light plate tracery windows.
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The church is constructed in yellow sandstone rubble with ashlar dressings and has slate roofs. Its plan consists of a nave, a southwest porch, a chancel, and a northwest vestry. On the west gable is a single bellcote. The windows are lancets, some of which contain Y-tracery.
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On the south side of the church are three windows and a priest's door. On the north side are four windows, one of which is a lancet. The window at the west end of the aisle has three lights, and the east window consists of three stepped lancets.
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The vaulting sprang directly from the top of the arcade. The wall at the eastern end of the sanctuary, probably built after 1260, had a large window which features an upper rose and elaborate tracery; the aisle windows were simple paired lancets recessed within an arch. In the nave, the south aisle had plain triple lancets set high in the wall to avoid the cloister roof. The north aisle windows by contrast had richly decorated cusped tracery, reflecting the changes in taste over the long period of construction, and suggesting that this was among the last parts of the church to be finished, probably in the very late thirteenth or early fourteenth centuries.
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On the north side of the church are two gabled transeptal bays with rose windows forming confessionals. There is also a gabled porch and a baptistry. At the east end of the chancel is a three-light window, and on the sides are lancets. The east window contains Geometrical tracery.
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The second and third stages contain single-lancet windows flanked by arcading. In the third stage is a quatrefoil opening on each side. The bell openings consist of a pair of narrow lancets, with blind arches on each side. On the tower is a broach spire with two tiers of lucarnes.
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The tower is built of iyellow sandstone with angle buttresses. It has a west door above which is a hood mould, its stops carved with faces. Over this is a window with Geometric tracery. Higher on the tower are more windows, some of which are lancets, and others have trefoil heads.
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The bell openings in the top stage are paired lancets under arches. On the summit of the tower is a shingled broach spire with a "distinctive twist". The east window has three lights, and the west window has two. Inside the porch are seats along the walls and a stoup.
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Ready to do anything, night and day, Always around and about. A better Cockaigne for a barber, A nobler life, there is none. Razors and combs, lancets and scissors Are all here at my command. There is also resourcefulness, in the trade, With the young lady, with the young man.
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The entrance to the church is through the west door of the tower, above which are three lancet windows. Above these are three-light louvred bell openings and a balustrade. The windows in the gables of the chancel and transepts are rose windows containing stained glass. Elsewhere the windows are lancets.
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North Bridge was designed in Victorian Gothic style by brothers John and James Fraser of Leeds. John had considerable experience of railway bridge design. Two spans of semi-elliptical arch ribs are supported by stone piers with ecclesiastical style buttresses, carrying a wide roadway. There are lancets in the spandrels.
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Above the doorway are five lancet windows. At the top of the west front is a gable containing a large rose window. At the west end of the aisles are paired windows with a quinfoil above. Along the south side of the aisle and on both sides of the clerestory are lancets.
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The windows along the sides of the church are divided by buttresses. In the nave the windows have two-lights with alternating quatrefoil and trefoil heads, and contain plate tracery. The chancel windows are pairs of lancets with trefoil heads. The east window has three lights, and the west window four lights.
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There is also a slate-hung bell-turret with a small spire. The windows, inserted in the 13th century, are Early English-style lancets. The roof is an old, but not original, king post structure. Interior fittings include a "rustic" altar rail with a crenellated upper surface, dating from the 17th century.
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Other windows are single-light lancets, mostly given brick surrounds in the 17th or 18th century. The east window is wider, with three lights and quatrefoils—a good example of a simple 14th-century window in the Decorated Gothic style. Inside, the roof is also simple: single-framed with a few exposed beams.
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It depicts the Transfiguration of our Lord Jesus Christ. It was designed by Seddon and installed in 1884. There are other stained glass windows, including the three western lancets, filled with stained glass by the parishioners in 1894, in memory of the Reverend John Pugh, curate 1856–1861 and vicar 1861–1893.
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Each bay contains a traceried window. The tracery produces a pair of trefoil-arch lancets topped by a quatrefoil. The front gable of the building features a by traceried window over the entrance. The three-stage bell tower is also buttressed and measures square and to the top of the octagonal spire.
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In the bottom stage is a lancet window on the west side. The middle stage contains paired lancets under arches, that on the south side being blocked by a clock face. The bell openings are louvred in pairs under arches. The nave contains Norman windows and doorways, some of which are blocked.
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Most of its windows are slightly later, being Early English Gothic lancet windows. The trio of stepped lancets above the west doorway are late 13th century. The Gothic Revival architect Charles Buckeridge restored the chapel in 1869–70. The Hospital of St. Leonard was a smaller institution, founded to care for lepers.
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The church is large and cruciform, built in coursed rubble limestone with Runcorn red sandstone dressings and bands. The nave of five bays is broad with low arcades and a tall clerestory. The windows are lancets, with a rose window in the south transept. The tower is "bold, craggy and heavily buttressed".
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The chancel arch is wide and pointed. The east wall of chancel—rebuilt in 1847–48 by former vicar William Palmer—has three stepped lancets.Pentin p.58. The two south windows are Early English lancets and the oak stalls of the chancel are decorated with early 16th century arabesque and traceried panels.
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In the bottom stage are two round-headed lancet windows, with a similar but larger window in the middle stage. The bell openings are louvred, and consist of triple round-headed lancets. Along the sides of the nave and the aisle are three two-light windows, and a three-light window in the eastern bay.
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On the south side of the church is a wooden gabled porch. The bellcote has wooden louvres, and a steep pyramidal roof surmounted by a weathervane. At the gabled west end of the church is a central buttress flanked by lancets, above which is an oculus. The east window is a stepped triple-lancet.
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The chancel has a small rose in the gable with three lancets below. The west end of the chapel has a simple but attractive perpendicular window in the upper section with a door in the lower section. The original stone tracery of the window has been replaced with wood. Externally the sandstone has weathered badly.
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The simple chapel has lancet windows in the side walls. The chapel is a simple Gothic building of the 13th century. The single-cell rectangular structure is dominated by a large three-light east window in the form of a lancet with cusping. Smaller single-light lancets remain in the north and south walls.
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Above these boxes are large wheel windows, glazed with coloured glass. Lining the side aisles are lancets generally glazed with stained glass panels. The chancel is divided from the nave by a pointed arch chancel screen. Within the chancel which has a semi-domed timber-framed ceiling, are four panels of early stained glass.
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At the west end of the south aisle is a doorway with a pointed head. Along the walls of the aisles are three two-light windows containing Y-tracery. On the south side of the chapel are a priest's door and a square-headed window containing three lancets. Its east window contains 19th-century Perpendicular-style tracery.
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The North Porch is surmounted by a St Thomas Cross. The remaining windows of the church have trefoil lights or are plain lancets, except for the east window which has four lights. The north porch is square, and faced what was then the most populous part of the village. However the porch was converted into a lavatory around 2015.
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St Saviour's is constructed in red sandstone rubble with ashlar dressings and Kerridge stone-slate roofs. Its plan consists of a four-bay nave with a south porch, a single-bay chancel with a north vestry, and a west tower. The tower is in two stages, and is battlemented. The east window consists of three lancets.
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Single lancets to middle stage. Set-back corners buttresses to ground level stage with coursed rubble sandstone to north elevation and stone shield over entrance with inscription, 'A.D 1849'. Ashlar sandstone to nave front elevation with sandstone string course in line with tower, north elevation having coursed rubble stone, all over bevelled plinth course of larger blocks.
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All windows are triple lancets in aluminium frames beneath arched drip moulds. A marble foundation stone is located at the base of the eastern elevation. The school is constructed of light red brick with a tiled roof. It has been constructed in three phases, the earliest of which is to the east and is three stories high.
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The vestry is built of basalt sandstone and has a flat roof concealed by a parapet. Facings to gable capping, buttresses, doors and windows are Murphy's Creek sandstone and there is an arched entry porch also in sandstone. This has a concrete floor and is reached by sandstone steps. Windows are lancets, some with decorated glass.
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The triangular chancel arch between chancel and unaisled nave is a 16th- century repair to the original 13th-century arch. The walls and wagon roofs are plastered and the floors of brick. The windows are large simple lancets, with the east window consisting of three together under a rere-arch. The tower has a weatherboarded bell chamber.
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At the top of the east gable is a small stone cross. Along the north aisle are buttresses, two-light Geometric-style windows and a porch. The north transept has a three-light window, and an adjacent apsidal vestry. Along the south aisle are windows, some of which are lancets, the others containing plate tracery, and a gabled porch.
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Around the church are pilasters, and all the windows are lancets. The tower has two unequal stages and a northeast stair turret. Between the stages is a string course, and the upper stage contains two louvred bell openings on each side. The parapet is stepped at the corners, and the tower is surmounted by an octagonal spire with lucarnes.
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125; Methuen & Co. Ltd and 1953. The small polygonal chancel with an apse and lancets was added in 1912. The altar slab is ancient, and there is a large stone font with a wooden lid. The East Coast Main Line railway used to run through the village, and the disused trackbed is now part of a nature reserve.
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The middle stage of the tower contains small chamfered windows on each side and a clock face on the west side. The top stage has louvred, arched bell openings, and roundels containing quatrefoils. The bays of the nave are separated by shallow buttresses, and each bay contains a large lancet window. The east window consists of three equal lancets.
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The plan consists of a 3-bay nave with an aisle on the north side only, a chancel of a further two bays (and at a lower level), and a tower, vestry and porch—all grouped close to each other. The simple building was described as "hard and soulless" by Nikolaus Pevsner, although he noted that its interior was "impressively proportioned". The quadruple-trussed timber hammerbeam roof of the nave, held on carved stone corbels and supported by scissor braces (paired diagonal braces running between pairs of beams), displays Blomfield's characteristic careful regard for the timberwork in his churches. The west window consists of a pair of lancets below a quatrefoil, and elsewhere in the nave there are three-light lancets set into recessed arches and separated by buttresses.
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There are two-light belfry windows and the window in the west wall of the tower also has two lights and is reticulated. The bell-ringing chamber has rounded lancets. In 1805, the tower contained three bells. The church windows include three-light clerestory windows with supermullions and a three-light east window in the Perpendicular style below a quatrefoil oculus.
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The tower rises for a single stage above the nave; it has angle buttresses, triangular bell openings with tracery consisting of three circles, and a corbel table. The spire is splay-footed, with lucarnes on the cardinal sides, and clock faces on three of the oblique sides. The windows are lancets containing Geometric tracery. Inside the church is a timber three-bay arcade.
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St Paul's is constructed in sandstone in 13th-century Gothic Revival style. Its plan consists of a nave with a clerestory, north and south aisles, a chancel and a west tower. The windows along the sides of the church, and in the tower, are lancets. In the Buildings of England series, the authors describe the pinnacles on the tower as "like apologetic eyebrows".
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Holy Trinity has a three-bay nave, each bay containing a triple lancet window. At the west end are four lancets, one on each side and two over the entrance. The chancel, added by Paley and Austin, has two bays and a three-light east window containing Decorated tracery. At the west end of the church is a double bellcote.
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There are also blocked stepped lancets at the west end, above which is a blocked round window. At the east end is a short porch and an entrance door, over which is a lancet window. On each side of the porch are small flat-headed windows. On the north side of the church is a chancel door approached by four steps.
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It is in two parts, the easternmost of which consists of a series of wide trusses. The chancel roof has beams supported on decorated corbels. Most of the windows in the church are lancets. The north wall has four, there are three on the south and east sides, and the west wall has two and a rectangular window with tracery work.
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The east window ("ugly" according to Palmer) was replaced with the present lancets. The floor of the presbytery was lowered and the whole eastern part of the building refloored. The choir and prebends stalls were renovated, using original material where possible. The work uncovered the original lion and fleur-de-lis heraldic artwork on which Scott based his decoration of the quire.
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Unusually, it is rendered with roughcast in the same way as the body of the church, producing a "heavy" effect. It has three tall lancet windows on the lower stage, and a much smaller lancet above. The three lancets depict the Resurrection, Crucifixion and Ascension of Jesus Christ respectively. Many of the internal fittings date from the 19th-century renovations.
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The church of St. Margaret is an ancient building of stone, consisting of chancel, nave without aisles, north porch, and an embattled ashlar tower to the west containing 3 bells. Most of the windows are plain lancets, that is, with pointed heads but no tracery. It has a stone slate roof. The present tower was added during the 15th century.
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The church is constructed in local red sandstone ashlar with a slate roof. Its plan is cruciform, with a west tower, a three-bay nave, long transepts, and a short chancel, with a north vestry, and a south organ loft. The windows are lancets and around the church are buttresses. In the tower are louvred bell-openings, a corbelled parapet and pinnacles.
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Earlier depictions of obsidian is usually restricted to their appearance as razors or lancets, and it is commonly believed that the material was not associated with weapons such as clubs or spears until later phases in Mesoamerica. In the Aztec writing system, a curved prismatic blade represents the phonetic value itz (Taube 1991) and results in the term itztli, as mentioned.
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Both storeys contain a four-light window, the upper window being sharply pointed. The tower is in three stages with an entrance porch on its side and a broach spire with lucarnes on its summit. The windows are lancets, and the bell openings have two lights with louvres. Along the sides of the church are three gabled two- light windows.
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The church is built in red brick with stone dressings and in timber framing with brick and plaster panels. The roof has grey and grey-green slates. Its plan consists of a through nave and chancel of four bays plus an apsidal bay, a south aisle, a west porch and a broach spire at the west end. Most of the windows are lancets.
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The Randolph Street Church of Christ is a historic church in Huntsville, Alabama. It was built in 1887 in a Gothic Revival style similar to rural churches, but built of brick. Rather than a central entrance, the tower contains doors under pointed toplights on the sides, and a double lancet window joined under a pointed arch. Another set of lancets flanks the tower.
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On the corners of the façade and along the side walls are pilasters, dividing the sides into bays with one set of lancets each. The eaves of the gable are corbelled. Above the eaves, the tower is faced with tin, and each side has a pair of arched vents below a small gable. A modern spire and weather vane top the tower.
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Christ Church is constructed in rock-faced stone with ashlar dressings, and has a tiled roof. Its plan consists of a nave, a chancel, a northwest porch, and north and west vestries. At the west end there are buttresses that rise to terminate in an octagonal bell-turret. The windows are cusped lancets, those in the nave have varying designs.
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The roof trusses sit on the unfinished stone block brackets. The reredos (panels behind the Holy Table) is fixed up against the internal stone wall. The windows to the nave and transepts all have Gothic paired "cusped lancets" with stained glass windows. The doors are generally double timber ledged framed doors with cover strip made to fit the Gothic arches.
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St John's was designed by the Lancaster architect E. G. Paley and built in 1862–63. It is constructed in whinstone with a slate roof, and was built to replace an older church, also dedicated to Saint John the Baptist. Its plan consists of a nave, with a short chancel and a bellcote. The windows are lancets containing plate tracery.
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The church is constructed in stone with slate roofs. Its plan consists of a four-bay nave, a north porch, a chancel that is narrower and lower than the nave, a north transept for the organ, and a south vestry. On the west gable is a double bellcote. Most of the windows are lancets, with a triple lancet at the east end.
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The west wall is buttressed, and there is a bellcote on its gable. In the south wall of the chancel is a Norman window. The other windows in the body of the church are lancets, other than the two-light window in the north wall of the nave. The windows in the chapels date from the 15th century, and also have two lights.
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The bell openings are lancets, and there are two lancet windows lower down on the west side, one above the other. The gabled porch is decorated with shields over the doorway. There are blocked windows in its east and west sides. In the south wall of the nave are a three- light window, dating from the 15th century, and a lancet window.
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The church is constructed in sandstone rubble with a slate roof. Its plan consists of a nave with a chancel at a lower level. The walls of the nave are divided by buttresses into four bays; the westernmost bays have a single lancet window, while the other three bays contain triple stepped lancets. The chancel is divided into two bays with two-light windows.
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On the south side of the chancel is a round-arched priest's door between pairs of lancet windows. On the side of the north aisle are two three-light square- headed windows and the organ chamber. The vestry has a north three-light window and two lancets on the east side. The east window in the chancel has five lights under a pointed arch.
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The apse was removed and the chancel was completely rebuilt with a square end and a longer floorplan. Lancet windows were installed, including a large triple window in the new east end. The south transept was also reconstructed and given lancets. The old transept must have been smaller and lower, more like a porch, because the low original 12th-century arches leading to the crossing were retained.
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These include the east window of two round-headed lancets. There is no known record of the date of the work or the name of the architect. St Margaret's has one bell, cast by Henry Bagley. The Bagley family ran a bell foundry at Chacombe in Northamptonshire from 1605 until 1785, and for shorter periods also cast bells at Ecton in Northamptonshire and Witney in Oxfordshire.
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They are of three lancets, with pointed heads, geometrical tracery—typically circular rosette devices dating from c.1250–1310—and hood moulds. Below the west wall south window is a late 14th-century door, now blocked, within an ogee-headed stone surround. The spandrels between the ogee and outer rectilinear enclosure contain on one side a dragon motif, and on the other, a shield.
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The nave roof is rib- vaulted into six sections and is plastered; the chancel roof is similar. Both have ornate decoration on the beams and braces. The pulpit and pews date from a renovation of the interior in 1888. The windows on all sides of the church are Decorated Gothic-style lancets with either two or three panes, except for the much larger east window.
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The tower first stage contains one large pointed arch Decorated window, this on the west side, with no hood mould and plain glazed with twin lights (lancets) leading to trefoil heads. The central mullion runs to an oval rosette with quatrefoil insets, characteristic of c.1250-1310 Geometrical tracery. The second stage contains small and narrow single light windows on all but the east side.
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In 1910 he exhibited designs at the Arts and Crafts Exhibition. Certainly Parsons worked closely with Davis in 1910 on the windows for St Anseln church (seven lancets for the Holy Spirit chapel) and Holy Trinity in St Andrew’s Fife (a five-light Crucifixion window). It was Davis who had introduced Parsons to Robert Lorimer. In 1910, Parsons lived at 38 Gainsborough Road in Bedford Park, London.
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In the bottom stage are windows with Geometrical tracery, in the stage above are niches containing statues and flanked by lancet windows, and above these are paired lancets. The top stage contains louvred bell openings. The chancel and the gable of the nave contain windows with Geometrical tracery, the windows along the sides of the aisles have Perpendicular tracery, and the clerestory windows are paired quatrefoils.
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St Bede's is built in red sandstone with a slate roof. Its plan consists of a west tower, a nave with a clerestory, north and south aisles, a chancel and a south porch. The tower has angle buttresses and gargoyles, and is crenellated. The windows in the nave are paired lancets, those in the clerestory have trefoil heads, and the tracery in the chancel windows is curvilinear.
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The much- restored stained glass window dates to 1531 and shows the influence of Dürer and Flemish masters of staining glass. The three lancets on the right hand side cover the principal subject of the window, the Assumption, whilst the lancet on the left acknowledges Hervé de La Palue, the donor of the window. The window also includes a depiction of Saint Michael fighting devils.
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The church is constructed in yellow sandstone with red sandstone dressings; the annexe is in concrete. The plan consists of a 3½-bay nave with a clerestory, north and south aisles, and an apsidal chancel with north and south vestries. At the west end is the base of the uncompleted tower, and an attached single-storey annexe. The windows are lancets containing Geometrical tracery.
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The main entrance has double wood doors with wrought iron decorative hinges and a pointed arch limestone surround. On the sides sympathetic later enlargements have covered the original walls. Two lancet windows remain on the south, and there are roof dormers on either side. The north side's addition, which allowed for a side aisle in the sanctuary, has paired lancets and a shed roof.
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Henry Carpenter's chapel has been added to several times since its construction in 1857, but still retains its Early English Gothic appearance. It is built entirely of stone, and has a tower at the west end (now with a low pyramid-shaped spire), an aisled nave, chancel, partly glazed wooden porch, vestry, kitchen and a large attached hall. The windows are mostly lancets; some have stained glass.
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In the 18th, or late in the 17th century, the outer > sides of the timber storey have been faced with brick work (apparently not > all of one date) flush with the stone walls below... At the west end of the nave there is a large five-light window, a group of lancets. The window was constructed in the 13th century, albeit later than the original building.
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The chancel has an east window of two lights with a circle in the head, originally c. 1250, and there are single lancets in the north and south walls. The vestry is of brick and is five steps below the chancel level. The 13th-century arch to the nave is of two chamfered orders, the inner one resting on moulded corbels supported by grotesque heads.
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The nave was restored in the 20th century, and screens were installed to separate it from the transepts. The aisles are demarcated by arcades of seven bays. A new altar was placed in the nave in the 1970s, but the original high altar remains. The windows are all lancets: narrow pairs in the aisles, a triple window in the tower, and single lights in the apse.
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Rose window. At the centre of the rose is a representation of the "Trinity". At the base of the window lancets depict Jesus' arrest, Jesus in front of Pontius Pilate, Jesus being mocked and beaten ("la Dérision"), the journey to Calvary, the crucifixion and the descent from the cross. This window was the work of the Lobin glass painting workshop in Tours and dates to 1873.
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The windows, all lancets, have intricate tracery. The (liturgical) west window is large, with seven lights, and the east window is similar. Stained glass was added to two nave windows by the Heaton, Butler and Bayne firm in 1930. The interior is noteworthy for its intricate naturalistic foliage carvings, especially on the capitals in the nave, on the corbels and on the chancel arch.
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Above the doorway are three lancet windows and a circular window. The transepts also have gabled buttresses and triple lancets, and a rose window on the north and south sides. In the chancel are two-light windows in each of the three sides of the canted east end, and there are two-light windows in the chapel. The tower has angle buttresses and is in four stages.
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In the bottom stage is an entrance on the east side and blind arcading on the north side. The second stage contains traceried lancets, the third stage has pairs of trefoil-headed windows, and in the top stage are two-light louvred bell openings and a cornice decorated with ballflowers. On top of the tower is a broach spire with lucarnes and a niche above each broach.
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Three single lancets have been combined to form a "Trinity window" in the front and rear gable. Along each side of the church are four, double-lancet windows. Both double lancet and Trinity windows have been used in the vestry and storage room. The building has three main exits including the double front doors and two single timber doors located at the rear of the church.
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Costigan (2010), p. 318 Under guidance from the Irish architect and architectural historian Rudolf M. Butler, Macken commissioned the Irish artist Harry Clarke to produce six double lancet windows stained glass widows for the chapel. They were completed an installed in 1924, with three of the colorful and highly detailed windows situated on either side of the nave. The lancets depict scenes from the life of Christ.
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The north transept is probably 13th century and features two lancets flanking the 15th century east window. Tudor windows line the north transept and lie on the west side of the aisles. Square-headed clerestory windows feature a stilted drip moulding. In the interior of the church, the arcades date principally from the 13th century and incorporate older 12th century structure, but the work is not uniform.
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There are five lancets around the apse of the chancel, and another in the east wall of the south transept. In the south wall of the transept is a doorway with a pointed moulded arch flanked by buttresses. In the gable above the doorway is a lancet window, also with a moulded head. In the south wall of the south aisle are two further lancet windows.
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Above the tower window is a clock face and above this is a pair of two-light louvred bell openings. At the top of the tower is a plain parapet. The chancel windows are lancets and at the east end are three tall windows. The window in the north wall of the transept is more ornate than that in the south wall of the tower.
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The building is constructed in brick with stone dressings, and has slate roofs. Its plan consists of a central block and two wings. The central block is in Georgian style, the west wing is Neo-Georgian, and the east wing, which incorporates the chapel, is Gothic Revival. The windows in the central block and the west wing are sashes, and those in east wing are lancets.
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The doorway is Norman in style. To the left of the porch is a lancet window, there are two lancets in the north wall of the chancel, and similar windows in the south wall. The east window dates from the 19th century; it has three lights, and contains plate tracery. The interior wall of the church is limewashed, and the windows contain stained glass.
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The church is painted pink with white bargeboards. The authors of the Buildings of England series describe it as a "candyfloss-pink tin tabernacle". Its plan consists of a three-bay nave, a short chancel at a lower level, and a north vestry. Along the sides of the church are windows containing Y-tracery, and the east window in the chancel consists of stepped lancets.
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Around the apsidal chancel are round-headed blind arcades in pairs, in some places pierced by lancets. Between the arcades are pilaster buttresses. The east window has a pointed arch, and two lights with Y-tracery. The north wall contains a blocked round-headed window pierced with a lancet, which is also blocked, a single-light window, and a two-light window with Y-tracery.
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The sanctuary is quite plain with the exception of the Sicilian marble altar introduced in 1897, from Dublin . The sanctuary is lit by two slim lancets placed in memory of Bishop Matthew Quinn, which show the Sacred Heart on the left and St Matthew on the right. Above is a trefoil which portrays the Holy Spirit. The marble altar is the focal point of the cathedral.
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Almost all the interior walls of the House of the Eagles are decorated with beautiful paintings and contain long benches, which are also painted. These benches are composed of two panels. The upper one is a frieze with undulating serpents in bas-relief. The lower panel shows processions of armed warriors converging on a zacatapayolli, a grass ball into which the Mexica stuck bloody lancets during the ritual of autosacrifice.
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Trefoil windows predominate. The middle and upper stages of the tower have paired lancet windows with trefoils above; the large nave window in the west end has five trefoils. Various combinations of trefoils and doubled or tripled lancets are also found in the aisles, chancel, transepts and porch. The clerestory differs in its use of groups of two and three quatrefoils — an arrangement that Ian Nairn called "odd".
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Large stained glass windows and rose windows were another defining feature of the Gothic style. Some Gothic windows, like those at Chartres, were cut into the stone walls. Other windows, such as those in the chapels of Notre-Dame and Reims, were in stone frames installed into the walls. The most common form was an oculus, a small round window with two lancets, or windows with pointed arches, just below it.
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The church is built in coursed sandstone ashlar with slate roofs in the Early English Gothic Revival style. The aisles have two-light lancet windows between buttresses and the chancel single light lancets. There is a three-stage south west tower with an embattled parapet, angle buttresses and a porch with a Gothic arch and planked door with ornate hinges. There are three-light belfry windows; the outer windows are blocked.
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The church is built in snecked red sandstone with green slate roofs in Gothic style. Its plan consists of a nave, low north and south aisles, a southeast porch, large north and south transepts, a west chancel, and a southwest choir vestry with the organ-house above it. Over the nave is a flèche. The windows are lancets, apart from larger windows in the north transept and at the west end.
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In 1845 and 1846 the chancel was restored to the design of Sydney Smirke. The east window was turned into a three-light window, all the side windows became single lancets, and the clerestory was removed. In the late 1870s, a stone pulpit was erected, and in the mid-1880s new seating was installed. Extensive work was carried out in 1890-91 to the design of John Oldrid Scott.
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St Thomas' is constructed in stone with a slate roof. Its plan consists of a four-bay nave, a chancel with a south chapel and a north vestry, and a west tower. The tower has pointed doorways on the west and south sides, a north lancet window, a clock face on the south side, and a plain parapet with corner pinnacles. The windows in the nave are lancets.
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Dominated by the exquisite Hardman Studio window in the style of a fourteenth century Gothic window; the five lancets depict pivotal scenes from the Gospel and the tracery at the top of the window details heavenly images, from 1869. The rose window in the west end of the Cathedral (1981), the Pentecost window (1989), and the Heroic and Saintly Women (1995) are other windows specific to the cathedral.
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Each transept is buttressed and has a window consisting of three stepped lancets. In the south wall of the chancel is a priest's door, with a lancet window on the left, and a two-light window under a flat arch to the right. In the clerestory are two-light windows in both the south and the north walls. The east wall has diagonal buttresses and a three- light window.
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Every window in the church contains coloured glass (except the two tiny windows in the chapel of St Padarn). The windows are mostly narrow single lancets, and at the ends of the transepts and at the west end are arranged one and two. Some are possibly mediaeval, in the same eroded yellow stone as the quoins. The west and south gables have three windows, spaced two below and one above.
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At the southeast corner of the tower is an octagonal stair turret with a conical slated roof. At the west end of the church, the aisles have single lancet windows, and the nave has a triple lancet. Most of the windows elsewhere in the church are also lancets. Both of the doorways are Norman in style; the north doorway is blocked, and the south doorway is ornately carved.
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St Mary's is constructed of rockfaced stone with ashlar dressings and has deeply pitched roofs of slate. Its plan consists of a nave and chancel combined under one roof, low north and south aisles with lean-to roofs, and a polygonal apse. There is no tower. The west wall has two large windows, each with three lancets; between the two is a niche containing a figure of Jesus Christ.
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In 1847 the architect James Cranston restored the chancel. The Oxford architectural writer and publisher J.H. Parker designed the east window of three traceried lancets. In 1852 the Gothic Revival architect George Gilbert Scott restored the nave and added the organ chamber and north aisle, re-setting the original transitional style north doorway in the new wall. A Sanctus bell was cast and hung at the same time as the restoration.
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69 Further, more sensitive, restoration was undertaken in 1964.New p. 405 Burges's East Wall and Zodiac Ceiling The Abbey's stained glass includes early work by Edward Burne-Jones in the rose window and lancets of the east wall, and Archibald Keightley Nicholson in the Lady Chapel. The Lady Chapel has three windows by Nicholson, depicting the Annunciation, the Nativity and the Presentation of Christ in the Temple.
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In the arch above the windows are carved symbols of the Evangelists, and the figure of Christ. Along the sides of the church are lancet windows, three to each bay of the aisles, and one to each bay of the clerestory. Above the entrance to the north porch is a diapered gable containing a statue of Saint Dunstan in a niche. The east window consists of three stepped lancets.
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The first and seventh bays project further forward than the centre (fourth) bay, which is formed by an elevated entrance porch. This has lancet windows on the sides, grouped under single hood moulds and with a string course. The doorway is under a segmental arch which is topped by a gable. The rest of the ground floor has larger lancets arranged in pairs and with a small trefoil above.
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Trapmore, Mark; "Berden - St Nicholas Church", The Recorders of Uttlesford History. Retrieved 24 May 2014 The nave is approximately east to west and north to south. The north side contains a 19th- century window with arched lancets and a twin-stepped angle buttress. Running off the nave south side is the 1868 porch, with door set within a deeply rounded arch opening with a following hood mould above.
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All windows are lancets. Some old burial vaults survive from the ancient church, but they are now in the churchyard next to the south nave wall; they were previously in the south aisle, which was not included in the narrower design of the new church. The bellcote has two bells taken from the old church: one has the initials , and the other is plain. The bellcote has carved gargoyles.
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An (from the French, for keeper or holder) is a woman's ornamental case, usually carried in a pocket or purse. It holds small tools for daily use such as folding scissors, bodkins, sewing needles (a needlecase), hairpins, tweezers, makeup pencils, etc. Some étuis were also used to carry doctors' lancets. These boxes were made of different materials such as wood, leather, ivory, silver, gold, tortoise shell, mother of pearl, and shagreen.
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Agave margaritae consists small rosettes, that are formed in sparse offshoots. Its pointed leaves have oval to wide lancets and are thick, fleshy, variably arranged, bright-yellow/green colored, 10 to 25 cm long and 7 to 10 cm wide. The leaf edges are variably serrated and form a brown horny edge. The colors of the tips range from brown to grey and are two to three cm long.
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Holy Trinity, Ebernoe Holy Trinity, the Anglican parish church at Ebernoe, West Sussex, was built at a cost of £1200 of polychrome local brick with an open belfry and steep boarded roof between 1865 and 1867. W.R. Peachey, lord of the manor, laid the foundations stone at the east end. There are no aisles. There are lancet windows in the nave and chancel, the lancets at the west end being trefoiled.
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Fours steps lead to a doorway on the east side of the tower. On each side of the nave there are three lancet windows, and between them are buttresses. On the north and south sides of the transepts are three stepped lancet windows, and on the east sides are single blind lancets. On the west side of both transepts is a small porch, each of which contains a pair of rectangular windows.
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Capernwray Chapel is constructed in sandstone rubble with slate roofs. Its plan consists of a four-bay nave, a two-bay chancel at a lower level and a southwest tower over the porch. The windows on the north and south walls are all lancets, at the east end is a three-light lancet window and at the west end is a five-light window. There is a doorway in the north chancel wall.
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The wall of the north aisle contains 19th-century lancet windows, and the head of a blocked round-headed window. Pevsner suggests that this may be Norman. The south aisle has a two-light window with Decorated tracery, and lancets in the south wall. The chancel has a five-light east window and a two- light north window; the chapel has a three-light east window and a two-light south window.
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The other windows consist of a flat-headed four-light window and a window with a pointed arch in the north wall, and a two-light window in the south wall. The east window consists of three lancets added in the restoration, and in the west wall is a Tudor- arched window with a cinquefoil roundel above. The south porch has stone side walls, each containing a three-light window, and a timber-framed gable.
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Beside the cathedral stands one of County Kildare's five round towers which is high, and which can be climbed at certain times. The cathedral is cruciform in plan without aisles in the early gothic style with a massive square central tower. All the windows are lancet windows, singles or doubles, but triple lancets in the four gables. Design features include arches which span between buttress to buttress in advance of the side walls.
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In the clerestory are three- light windows with trefoil heads. The west window of the nave has four lights containing Geometric tracery; this is flanked by lancet windows. Below the window is a gabled entrance. The chancel has a four-light east window, the vestry has a three-light west window with plate tracery and three trefoil- headed east windows, and the organ loft has three lancets with a spherical triangle window above.
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At the corners of the nave and the chancel are buttresses that rise up as spirelets. On the gables of the chancel and the nave are cross finials and pinnacles. There is an organ chamber at the east end of the north aisle, and a war memorial chapel at the east end of the south aisle. The windows along the clerestory are round with inset quatrefoils; all the other windows are lancets.
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The arch is of three orders, the inner order being carved with beakheads, the middle order with a frieze of arches, and the outer order with zigzags. Above this is a hood mould carved with zigzags and pellets. The windows are mostly Early English, although some of the lancets in the chancel appear to be later insertions. In the south wall of the chancel is a sheela na gig, dating probably from the 12th century.
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There are three large bay windows with stained glass dating to 1859 . These three windows by René Échappé depict various Dol bishops and under each of these depictions is a small medallion showing an event in that bishop's life. They were all executed in 1859 and take up three of the cathedral's many bays. The first of these windows features four lancets containing depictions of saint Budoc, saint Magloire, saint Samson and saint Génevé.
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"Le Jugement Dernier" The window has just two lancets these depicting a multitude of people milling around having heard Christ's judgement, In the left side lancet are the "chosen" and in the right side lancet are the "damned". In panels at the top of each lancet are angels blowing trumpets. Christ appears in a panel at the top of the window. His arms are spread and his feet rest on a globe.
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In 1922 the library became part of the Municipal Borough of Lytham St Annes with the amalgamation of St Anne's on the Sea and Lytham Urban District Councils. In 1974 the administration of the library was taken over by Lancashire County Council. In Buildings of England Hartwell and Pevsner describe its 'Dark red and yellow and black brick dressings, including dentil sill bands and 'quoins'. Steep coped gables with jaunty finials, and lancets.
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It has diagonal buttresses, a battlemented parapet, and a pyramidal roof surmounted by a 20th-century cast iron weathervane. The bell openings are lancets and are louvred, with slit openings beneath them. On the west face of the tower is a plain round-headed doorway, with a double-lancet window above it. In the south wall of the nave are four two- or three-light windows, and in the north wall are two lancet windows.
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The tower is slim, in three stages, and surmounted by a broach spire. In the bottom stage is a west door, the middle stage contains lancet windows, and the bell openings are traceried. The bays at the side of the church are separated by buttresses, and each bay contains a window consisting of a circle above two lancets. At the east end of the chancel are three lancet windows, with a round window above.
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However the parish church had become ruinous in the 15th century and this building replaced it as the parish church in 1480. The stonework is a fine example of the work of the 13th century, particularly the sedilia, the east window of five lancets and the triple-lancet window on the south side, with stained glass of the 13th and 14th centuries. The 14th century north chapel later became the manor pew.
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The Dublin Medical Press was a weekly medical publication established in 1839 by Arthur Jacob. Claiming to be the first publication of its kind in Ireland, its first issue contained veiled criticism of The Lancets Erinensis column, pseudonymously written by an Irish doctor. It was co-edited by Jacob and his colleague Henry Maunsell, and was published by Fannin and Company in Dublin. After 3 months, circulation had reached 3,000 copies per week.
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The entrance front includes an arched doorway with a lancet window to the left; in the storey above are two two-light windows and a gable. To the left of the gable is an octagonal bellcote with a stone spire, and to the right is a crocketed pinnacle. There is a rose window at the liturgical east end. The body of the church is in five bays, each bay of the clerestory containing triple lancets.
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In the wall of the south aisle are a single lancet and two paired lancet windows; along the north aisle are three pairs of lancets. The clerestory has four round-headed windows on each side. There is a further lancet window in the west and east ends of both aisles. Along the south wall of the chancel is a pointed-arched window, a priest's door with a pointed arch, three lancet windows, and three niches for images.
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Scalpel blades are usually individually packed in sterile pouches but are also offered non- sterile. Double-edged scalpels are referred to as "lancets". Scalpel blades are usually made of hardened and tempered steel, stainless steel, or high carbon steel; in addition, titanium, ceramic, diamond and even obsidian knives are not uncommon. For example, when performing surgery under MRI guidance, steel blades are unusable (the blades would be drawn to the magnets, or may cause image artifacts).
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The church is orientated with the sanctuary at the west end; the following description will use the liturgical orientation. Its plan consists of a three-bay nave with a south sacristy, a narthex at the west end, and an apsidal sanctuary. The narthex has two gables, each containing a diamond-shaped window, and a main entrance on the north side. The windows along the sides of the nave are paired lancets separated by artificial stone mullions carved with angels.
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The pointed-arched lancet in the east wall has two lights and is either 14th- or 15th-century. Two pairs of single-light lancets with red-brick surrounds were added in the south wall during the 1878 renovations, which also added a timber roof with tie-beams. The two simple windows in the west wall may have been inserted then as well. A pair of dormers on the south side date from the 1972 conversion into a house.
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The middle stage contains a gabled niche containing a statue, and in the top stage are three-light louvred bell openings. On the tower is a broach spire with a two-light lucarne on each cardinal side. The windows in each bay of the nave consist of a pair of lancet windows with a circular window at the top. In the chancel is a three-light east window containing Geometrical tracery, and two double lancets on the south side.
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The cathedral has a Romanesque west doorway with outward pointing chevron decoration in the Anglo-Norman style. It is flanked by blind arcading with lozenge-stonework similar to that found in parts of south-west France. It also has a 13th-century east window and a row of nine lancets in the south wall. Two effigies of ecclesiastical figures of the late 13th- or early 14th- century period are mounted on either side of the east window.
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The concrete was used to imitate Kentish Ragstone; the north side is stuccoed to resemble ashlar; and genuine ashlar was used for the late 19th-century extensions. The concrete section has stone quoins at the corners. The south façade, facing Eastern Road, has lancet windows and small buttresses, and the north face is identical. The tower, topped with a spire, stands at the west end and also has lancets and corner buttresses; it is flanked by porches.
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It has a chancel with fine stone vaulting, and three lancets in the east window with stained glass showing the Magi, the Crucifixion and the Resurrection. Painted panels by the altar show St. Kentigern, St. Cuthbert, St. Aidan and St. Ninian, all travelling saints. The bell in the bell cote came from the ruined nunnery. The church bell, cast in America, is one of the only two foreign bells in the diocese of Newcastle: the other is at Eglingham.
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St Mary’s is a large and long church in typically East Anglian style. The three-stage western tower may be late 12th century in origin, but was rebuilt in the later 13th or early 14th century. It has a west door and trefoiled lancets in the lowest stage, and Y-tracery windows in the second stage and bell stage. There is a polygonal stair turret, but this does not rise the whole height of the tower.
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The twin lancets and sexfoil in the east wall St Andrew's Church The church is a relatively plain, uncomplicated structure, similar in layout to many 12th- and 13th-century churches in Sussex. The chancel, with its chamfered Norman arch, leads to the three-bay nave with aisles on the south and north sides. In the older south aisle, the piers have capitals decorated with a scallop design. The 19th-century north aisle is similar but wider.
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The chancel roof is slightly lower than the nave and on the north side there is an aisle of 1861 and an adjoining vestry to the east. The stones are a mixture of uncoursed lias rubble with Cotswold dressings on the corners. The Victorian work stands as a contrast, it being coursed lias stone. The west wall of the nave was rebuilt in 1861 with a pair of widely spaced lancets and a small quatrefoil window above.
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The church is constructed in sandstone from Storeton quarry, and has slate roofs. Its architectural style is that of the 13th century. The plan consists of a seven- bay nave with a clerestory, north and south six-bay aisles under lean-to roofs, a chancel, a north vestry, a north organ loft, and a northwest steeple. The windows along the sides of the aisles are paired lancets, and there is a three-light window in the southwest of the nave.
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Red brick laid in the English bond pattern is the predominant material on the outside, although there are some stone dressings as well; inside, both red and yellow brick is used to create multicoloured decorative bands. The yellow brick was made at Sittingbourne in Kent. All windows are lancets. The three in the north transept are very tall and have two quatrefoils above, while in the south transept two narrower windows with intricate tracery are separated by a thick mullion.
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One on the south side has the remains of some contemporary stained glass showing the coats of arms of the FitzAlans (the Earls of Arundel) and the de Warennes (the Earls of Surrey). Designed in quarters, it dates from the 1360s. The others are paired lancets with cinquefoil (five-lobed) lights above. In the west wall of the nave is a three-light window paid for in 1534 under the terms of a will; it has plain arched heads without cusping.
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The east window is a three- light lancet with mullions, set below a segmental-arched hood mould. There are two narrow lancets in the south and north walls as well, and a blocked window of Anglo-Saxon origin on the latter. The walls are just over thick. The nave formerly had a pair of porticus-style side chapels, but little trace of these remains—although blocked windows and fragments of archways and gabled roofs have been visible since 1918, when they were excavated.
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Each arcade has a concrete floor, and a vestry is located at the rear. The windows to the side aisles are separated by buttresses, and consist of triple leadlight lancets with lower casements sections set in a pointed arch composition. Paired timber doors housed in a pointed arch open from the side aisle to the arcade. Each vestry projects from the arcade, and the side wall has six narrow pointed lancet windows, and a pointed arch timber door opens to the rear.
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The Argyll Mausoleum is located at the north-east corner of the church and connected with the latter. The mausoleum is on a square-shaped floor plan with the pointed-arched entrance on the northern elevation, flanked by two blind- traceried lancets and applied pilasters. One of the most noticeable features of the Argyll Mausoleum is the large cast iron dome over the building. When it was constructed in the 1790s, the mausoleum had a slated pyramid roof with no windows.
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The reconstruction plans, implemented in 1860, called for several alterations which transformed the church into a Gothic Revival structure. The chancel was recessed and three lancet windows, the central opening being taller and broader than the others, were added over the altars. Two narrow lancet windows, designed to light the choir loft, were added in the facade, as well as one in the bell tower. The original rectangular openings were replaced by paired lancets, surmounted by a quatrefoil in a circle.
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Godefroy called the basilica's style "early Gothic with lancets, the purest period of the thirteenth century". Unlike medieval church buildings that were built over a period of many years, the basilica has a consistent style throughout. 13th century features include flying buttresses, paired lancet windows, pinnacles, the bell tower, a gallery of statues and rose windows in the facade. There are features drawn from the Sainte-Chapelle of Paris, built in the 1240s, which was being restored in the 1840s.
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The largest window, which sits under a hoodmould, is in the east end of the chancel; it is a three-light lancet with prominent tracery in the curvilinear/reticulated style. The window dates from the 14th century, which may make it the same age as a small window next to the porch, which has twin lights with foliated heads set below a quatrefoil in an ogive arch. Both windows also have scrollwork drip-moulds. Most other windows are plain trefoil-headed single lancets.
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The south-facing walls have two pairs together, while on the inward-facing walls of the first and seventh bays there are two sets of paired windows placed some distance apart. At first-floor level, similar paired lancets and trefoils rise as gabled dormers above the roofline. The south walls of the first and seventh bays have prominent five-light oriel windows, canted to form a 1–3–1 pattern of trefoil-headed panes. These oriel windows are supported on ornate corbels.
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The west window of the nave, above the entrance, is formed of three stepped lancets and has a pointed arch. Between the vestry and the chancel is a squint with a sliding panel, allowing the altar to be viewed from the vestry. The "fine medieval porch" on the north side has woodwork of high quality in the arch and gable, dating from either the 14th or the 15th century, including bargeboards with fretwork tracery, and timber-framed stone inner walls.
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He called them "bions" and believed they were a rudimentary form of life, halfway between life and non-life. He wrote that when he poured the cooled mixture onto growth media, bacteria were born, dismissing the idea that the bacteria were already present in the air or on other materials.Sharaf 1994, p. 220ff. In what Sharaf writes was the origins of the orgone theory, Reich said he could see two kinds of bions, the blue vesicles and smaller red ones shaped like lancets.
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Bath Stone was used in places as well. The plan consists of a chancel and nave without separation, a vestry, a tall stone porte-cochère and a wooden belfry with a spire on top of a slate roof. At the liturgical east end, there is a lancet window with tracery in its four panes, and the vestry has a similar window with three lights. The porte-cochère has a low five-light window with stepped lancets and two smaller windows above.
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They have cusped ogee- headed lights and spandrels. A square-set bellcote is partly supported by a central buttress at the west end and has similar cusped ogee-headed openings in square surrounds and spirelet with decorative lucarnes, and three-cusped ogee-headed lancets in the chancel. The church interior has a decorative arch- braced roof with moulded members and cusped wind-braces. There is a mock sepulchral recess in the north wall of the chancel with cusping and crocket ornament.
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St Michael's is constructed in stone rubble with ashlar dressings, the chancel is roughcast, and the roofs are slated. Its plan is cruciform, consisting of a two-bay nave with north and south transepts, a chancel with a south organ loft, and a west tower. The tower has angle buttresses, with a west doorway, and two lancet windows and a clock face above it. The bell openings consist of pairs of louvred lancets, flanked by a blind lancet on each side.
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With a diameter of , the rose window is the largest rose window in the U.S. Flanking the rose window on either side are two grisaille windows, each with two lancet windows under a smaller rose. The seven archangels are depicted in the north grisaille, while the seven churches of Asia are depicted in the south grisaille. Connick had designed the grisailles as well. On the gable above the large rose window, there are lancets as well as a medallion in the middle.
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The two lancets contain stained glass memorial windows representing "The Good Shepherd" and "Behold, I stand at the door and knock." The altar is located in a shallow, projecting one-story gabled chancel bay at the east end. Subsidiary projections include a shed roofed side entrance and chimney on the south elevation at the chancel crossing and a hip roofed projection on the north side that is now obscured by the 1965 Parish House addition. Limestone trim embellishes the exterior of the porch and the west wall.
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The west bay is part of the church building itself, while the east bay represents the facade of the Sunday School Building, constructed after the completion of the sanctuary. The west gable is pierced by a tracery window, composed of two paneled lancet windows with a rose window above. Sculpted panels of blind arcading interrupt the lancets at a level one-third the height of the window. Pointed label moulds with carved label-stops surround the tracery to protect the windows from the weather.
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The quinquefoils at the tops of the lancets exemplify sentinel features of the life of Christ and of the church year as well. Binoculars are recommended for study of these windows. Beginning at the left above the pulpit, the Epiphany Star is surrounded by a choir of seven angels and the text from Luke 2:14, "Glory to God in the highest, on earth peace,; goodwill toward men". In the next window to the right, the dove descends over the water of Jesus' baptism.
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St Aldhelm's Roman Catholic Church is built in uncoursed stone with ashlar dressings, in 14th-century gothic style. It is set back from the town's market place, to which it presents its west façade where a large two- light trefoil-headed window is flanked by two plain lancets. Immediately south of the church is the presbytery. The Grade II Listed building incorporates a single-storey 19th-century former stable to Cross Hayes House, built in squared limestone, with a later rear extension in limestone rubble.
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The western elevation has twin stone entrance porches, three lancet windows and a stone cross at the top of the gable. Dressed stone work is used around windows and to the top of the gable, and a Latin inscription reads DOMUS MEA DOMUS ORATIONIS (translated "my house shall be called a house of prayer"). The chancel gable has three lancets, two quatrefoils and a rose window surmounted by a vesica. The eastern nave gable is surmounted by a carved stone bellcote from which a bell is hung.
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It terminates in an ornately designed apse at the east end; in contrast, the plain west end was never completed and the tower planned for that end by Streatfield was not built. The entrance is at the west end, in a small porch above which are two lancet windows and a central arched window. There is another porch on the south side (facing Stanford Avenue), with a sundial bearing the inscription . The nave has pairs of lancets all the way round, separated by brick pilasters.
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Looking down the nave to the west end The west front dominates the east side of Bishop's Stortford with its tall, broad central tower and distinctive steep saddleback roof, and three impressively tall lancets. The use of Kentish ragstone facings creates a monumental effect, reinforced by buttresses that flank the aisles and chancel.Symondson p.15 At the south west entrance there is a 19th-century timber lych gate, which is the only part of the original 1851 church that was not damaged by fire.
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This Lobin stained glass window dates to 1867 and in four lancets depicts the nativity, the presentation in the temple, the last supper and the resurrection, scenes from the life of Jesus Christ. Each lancet has a descriptive inscription "NATIS EST HODIE SALVATOR ; NUNC DEMITTIS SERVUM TUUM DOMINE ; EGO SUM PANIS VITAE ; SURREXCIT SICUT DIXIT". The window also carries the coats of arms of the Rodellec family crossed with those of Poulpiquet and Rodellec crossed with those of Relas. It also bears the motto "MAD HA LEAL".
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Sharps – like needles, syringes, lancets and other devices used at home to treat diabetes, arthritis, cancer, and other diseases – should be immediately disposed-of after use. Sharps waste is a form of biomedical waste composed of used "sharps", which includes any device or object used to puncture or lacerate the skin. Sharps waste is classified as biohazardous waste and must be carefully handled. Common medical materials treated as sharps waste are hypodermic needles, disposable scalpels and blades, contaminated glass and certain plastics, and guidewires used in surgery.
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2008 view of the church, showing the new vestry Pevsner described the church as: > an intriguing and problematical building, with a three-gabled east > termination and a west tower, looking like a Devon church. Nave, chancel, > and aisles continuing into chapels; a rectangle except for the tower and > north porch. The church has ashlar walling stepped buttresses, diagonally placed on the corners, comprising a high plinth with late moulded step. Set in the western wall, in the tower, is a 13th-century window of three lancets, the centre one higher.
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The east window in the chancel consists of three lancets, and in the north wall of the chancel are two windows in 14th-century style. In the south wall of the nave are three windows; one at a higher level dates from the 16th century, the others are from the 19th century, one in 12th-century style, and the other in the style of the 14th century. The south doorway dates from the 12th century. It has a semicircular arch, is decorated with zigzag and dogtooth designs, and has scalloped capitals.
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Adjacent to the Manor Farm is St Nicholas Church, small church dated to the late 12th century, which forms one of eleven churches in the Northanger benefice. It fell into ruin and lost its roof before it was restored in the late Victorian period in 1888. It is a single-cell building, with 2 small lancets on the north side, and contains windows dated to the 15th and 16th century. The two doorways date to the 13th century, and the timber-framed porch on the south side to the 15th century.
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It is constructed in sandstone rubble and has a slate roof. Its plan consists of a single undivided cell with a south porch and a gabled bell turret at the west end. Immediately to the east of the porch is a blocked medieval door and there is a narrow priest's door dating from the 13th century further to the east. The windows on the north side of the church are lancets while those on the south side, and at the east and west ends, are two-light windows.
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The Early English transepts are both famous, that of the south having a complex arrangements of lancets and a rose window making up an entrance façade. On the north side are lancet windows called the “Five Sisters” each only wide, but tall. The interior of York is very spacious. The West front with its paired towers is a harmonious arrangement of the late Decorated period and the large central window has fine Flowing Decorated tracery called the "Heart of Yorkshire", while the large eastern window is Perpendicular in style.
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Three-light window in Brentwood School Chapel Three Hallward lancets in the North Aisle of the Brentwood School chapel in Brentwood, Essex depicting Faith, Hope and Charity were moved to the school from St Mary's Church in Great Warley and were given by Evelyn Heseltine of Great Warley who was chairman of the governors. The chapel was built in 1868 and was originally built in the shape of a cross but in 1925 two aisles were added to the structure as a memorial to the First World War.
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By 1790 the mediaeval Church of England parish church of the Holy Trinity was in disrepair and in danger of collapse, and in 1792 William Fermor employed a fellow-Roman Catholic to rebuild it. In 1852 the church was restored and rectangular Georgian windows were converted to lancets, and in 1905 the building was restored again. The mediaeval font survives and some mediaeval masonry remains in the bell tower. The tower used to have three bells, but in 1792 two of them were sold to pay for rebuilding the church.
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Internal walls are of vertically jointed boards and window units consist of three timber framed lancets with pale green leadlight glazing, some of which have stained glass inserts. Pointed arches form the western door and vestry doors, and the highly intact interior contains original pews, some altar furniture and storage cupboards. A round stone baptismal font is positioned at the western end of the nave and fluorescent lighting has been attached to the underside of the tie-beams. The internal walls and ceiling of the vestry are lined with fibro panels with timber cover strips.
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The north has two only window. There are four lancets to the nave on the north, with three and the porch to the south. The transepts also have single lancet windows east and west. The north transept has a nineteenth century two-light east window with the relieving arch of an older window well above. The east window is a memorial to Mrs Rosa Edwyna Powell (died 1860), of Nanteos, and her daughter Harriet Edwyna (died 1857), and was inserted by direction of the Will of her son George (died 1882).
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The lancet windows in the chancel, inserted in the 13th century, underwent 19th- century restoration and have stained glass by Charles Eamer Kempe. The nave also has lancets, put in during the 1835 rebuilding, and several windows in the aisles were installed as memorials during the Victorian era. The east window is contemporary, and its stained glass may be by the Clayton and Bell firm. Ken Adams of the Cox & Barnard firm of Hove designed a memorial window for the north aisle in about 1950, showing the Presentation of Jesus at the Temple.
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The east end of St Matthew's Church has a polygonal apse with lancet windows separated by stone shafts. The south transept has paired lancets and a sexfoil window. St Matthew's Church is a large Early English Gothic revival building with elements of the later Decorated Gothic style. John Loughborough Pearson regarded it as one of his cheaper churches in terms of its design: he reused structural and decorative elements from earlier commissions (in particular St Barnabas Church in Hove, completed in 1883), and restricted himself to using red brick and small quantities of stone.
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The church is built of Runcorn sandstone with a slate roof, and is in Early English style. Its plan consists of a nave of five bays with north and south aisles and a clerestory, a chancel that is lower and narrower than the nave, and a steeple at the southwest corner. The steeple consists of a square tower with an octagonal spire rising to . The steeple has corner buttresses, large louvred lancets at the bell-stage, and two tiers of lucarnes springing from the base of the tower and from the broach.
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Although plans for a military chapel had been abandoned during construction, the cathedral authorities did allow for the installation of three sets of memorial windows in the Sanctuary—allocating two lancets each to the Army, Navy and Air Force. Fund-raising for the two Air Force windows began in September 1957. Designed by the English artist Edward Liddall Armitage, these were installed in April 1962. They are dedicated to the members of the Air Force and New Zealanders who died in the service of the air forces of the Commonwealth during the Second World War.
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St Mary's Church in the centre of Chapel Lawn was designed by Edward Haycock Snr in the lancet style and erected in 1844. It was planned to provide 232 sittings, of which 162 were declared free and unappropriated forever. Originally a Chapel of Ease of Clun parish, without an adjoining vicarage and resident priest, it was built to save parishioners the long walk to Clun. Built of stone in the style of the period, it displays the typical plain lancets, flat buttresses, and western bell gable with a wide queen post roof.
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Angels adorn its tiebeams and hammerbeams, and figures of the apostles with others carved in the wall posts. The chancel screen dates from the 15th century and has the remains of old painting and gilding and in the north aisle windows in glass as old as the screen are of more angels. The chancel is 13th century and the east window is a fine trinity of lancets reaching up to the roof. The rood-stairs are in a turret by the chancel arch, and there is a simple 15th- century font.
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The nave has seven crossings but only six side-aisles due to the towers built on the western extremity of the cathedral. The aisles each have bays in tiers-point with two stained glass windows within an ogival frame. All the windows in the north nave aisles date to the 19th-century except for the first window near the north tower which dates to the 14th-century. Above the two lancets are circular windows and seven of these depict the coats of arms of some of the Dol-de-Bretagne bishops.
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All of the windows are narrow, tall lancets; those in the nave are flanked by buttresses and recessed below pointed arches. There are similar windows in three stages of the tower, which is topped by a pyramidal spire with a weather vane. There are two windows to the chancel, which has a vaulted roof; the nave roof has arch-braced trusses. A presbytery is linked to the chancel and the east end of the church; it was also built in 1906 and designed by Frederick Walters, but substantial alterations were carried out in 1957.
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Side view, 2015 The chapel is made of locally quarried sandstone and originally had a shingled roof, now slate. It conforms to a standard English type of small church with a simple rectangular nave with a square chancel attached via an arch. A little square sacristy is attached to the north side of the chancel and a square porch gives onto the south-west end of the nave. Externally the elevations are extremely simple with an unadorned ashlar lower section with small lancets let into the wall above a roll moulding to form a clerestory.
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Large sandstone crosses surmount the gable tops of both the central and subsidiary bays, which are demarcated by angled buttressing extending to pinnacles. The northern and southern faces of the church consist of the transverse elevation of the aisles and, set back from these, the elevation of the nave. These elements are punctured with openings of geometric tracery featuring twin lancets and quatrefoil above. Concealing the roofs are parapets; over the aisle roof the parapets are moulded with protruding miniature gabled pinnacles and to the nave the parapet is crenellated with similar protruding pinnacles.
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In the wings, most of the windows in the ground floor are pairs of lancets under an arched hoodmould, and most of the windows in the upper storey have two lights under a flat lintel. The windows in the projections and pavilions are more ornate, most of them consisting of a triple lancet under an oculus. The dormers contain cross casement windows, and on the summits of the dormers are finials. In the ground floor of the central block is a porch with three arches carried on red sandstone columns.
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Biomedical waste is a type of biowaste. Biomedical waste may be solid or liquid. Examples of infectious waste include discarded blood, sharps, unwanted microbiological cultures and stocks, identifiable body parts (including those as a result of amputation), other human or animal tissue, used bandages and dressings, discarded gloves, other medical supplies that may have been in contact with blood and body fluids, and laboratory waste that exhibits the characteristics described above. Waste sharps include potentially contaminated used (and unused discarded) needles, scalpels, lancets and other devices capable of penetrating skin.
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The volume on Dorset in the Buildings of England series by John Newman and Nikolaus Pevsner describe this as having "nave with bellcote, chancel and apse ... Slater's and Carpenter's typical single and twin lancets with pointed-trefoiled cusping." The remains of the Old St Cuthbert's Church are half a mile south, on the other side of the A30. Only the chancel remains. Oborne had been given to Sherborne Abbey by the Saxon King Edgar in the 10th century and it remained a 'chapel of ease' to the abbey until the Dissolution in 1539.
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The hall is to the north west and is a simple timber building with a gable roof clad in corrugated iron and a central gabled porch entry on the long axis. At the rear, a skillion roofed extension runs the length of the building. The windows are lancets and a triplet at the short axis has decorated glass. The former rectory is set back from the corner of Cambooya and Glennie Streets and is a single-storey timber house on low stumps with a roof clad in corrugated iron.
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This gives the illusion that the two windows at the eastern end are shining bright stars, even though they are letting in just ordinary daylight. The main windows are all lancets of clear handmade leaded glass. Maufe's choice, not to use mass-produced glass, shows the influence at the time of the Arts and Crafts movement. With such a wide range of light and shadow: vistas that change with the position of the observer, Maufe has given a spatial richness to the building which is normally only found in large ancient cathedrals.
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When the army of the Jin dynasty invaded Jinan moving southward into the territory of the Southern Song Dynasty, the local garrison commander, Guan Sheng (), refused to surrender. A bloody battle ensued and the soldiers washed the textile decorations of their lancets in the Palace Pool. The name "Palace Pool" dates back to the time of the Ming Dynasty, when the De Wang Palace () was constructed at the site and the spring pool was included into its grounds. Today, the pool lies in a historical residential neighborhood with private residences on the water edge.
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The Radburn model led to anti-social behaviour problems : Nottingham City Council has stated that "the problems associated with the layout of the New Meadows Radburn style layout... contribute to the anti-social behaviour and crime in the area." St Saviour's in the Meadows St Saviour's Church located on Arkwright Walk, by R C Sutton, opened in 1864. It is entered through the south west tower and has a simple west end with lancets. It is one of only a small number of large individual buildings that survived the area's redevelopment in the 1970s.
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Following this he was instructed by Prince Albert to carry out work on Windsor Castle. This included replacing sash windows with lancets and mullioned windows and rebuilding the Clewer Tower. Salvin designed Peckforton Castle in Cheshire for John Tollemache, 1st Baron Tollemache as a recreation of a castle of the time of Edward I. In 1852 he started work on the restoration of Alnwick Castle in Northumberland. This included replacing one of the towers with a larger tower, the Prudhoe Tower, creating a porte-cochère, replacing windows and replanning the interior.
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The entrance is a three-bay baptistery, into a tall clerestoried nave with narrow aisles either side. The main west window portrays nautical episodes of Christ's life (e.g. the miraculous draught of fishes, preaching from the boat, calming the storm), the instruments of the Passion) and Saints Peter and Paul, whilst both aisles have five sets of three lancets each, with those on the north showing saints and apostles and those on the south side showing Old Testament figures from Moses to Hezekiah. Most windows are by Powell.
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The chancel arch is a depressed or three-centred type. There is a doorway from the north wall of the chancel to the vestry The windows are Noman narrow round-arched type in the chancel with restored square-headed Perpendicular windows on the south side of the nave and chancel The west wall has two lancets mentioned before with a two-light Victorian window to the aisle. On the north side is a pair of two-light windows within a wide segmental arch and a renewed Norman doorway between them best seen from the outside.
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The central grouping of windows was dedicated to Charles Merrill and features two lancets entitled "Faith" (center left) and "Hope" (center right). The inscription beneath "Hope" comes from Psalm 119, reading "The entrance of thy words giveth light." The windows were created in 1899 when the First Unitarian Church of Detroit built the congregation's second site. Eventually, the building was sold to the Church of Christ and the windows were removed when the widening of Woodward Avenue was planned in 1936, necessitating a modification and move of the church building.
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To the left of the chancel is the former nun's chancel now used as the Blessed Sacrament chapel and to the right is the south transept. To either side of the sanctuary proper are two more lancets representing St Joseph and St Mary. Standing before the Joseph window is a statue of Our Lady and before the Lady window is the Sacred Heart. In 2011, it was reported that the repair work is necessary to restore the fabric of the building, in particular the bell tower, which has become unsafe.
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The Arms of the College is an eagle, preying on a serpent which is an emblem of disease. The supporters are Irish elks, with chaplets of shamrocks around their necks. Over the helmet is conventional drapery, called the Mantling, and derived from a head-covering worn by knights in armour for protection against the sun’s heat. The shield is decorated with two fleams of lancets, a satire cross, a hand and a crowned harp; the latter was taken from Arms granted in 1645 to the Dublin Guild of Barber-Surgeons.
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The Early English Gothic chapter house, built between 1230 and 1265, is rectangular and opens off a "charming" vestibule leading from the north transept. The chapter house has grouped windows of simple untraceried form. Alec Clifton-Taylor describes the exterior of this building as a "modest but rather elegant example of composition in lancets" while Nikolaus Pevsner says of the interior "It is a wonderfully noble room" which is the "aesthetic climax of the cathedral". To the north of the chapter house is the slype, also Early English in style, and the warming room, which contains two large former fireplaces.
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The western three windows on the north side and the westernmost window of the south side are simple lancets with no tracery. All the windows of the western half of the church are clusters of lancet lights. The third window from the west on the south side holds three lights and intersecting tracery while, in the second window from the west on the same side, two lancet lights support a light in the shape of a mandorla. In each of the middle two bays of the north side stands a round-arched doorway with a sculpted angel's head on the keystone.
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Each wing > bay has a triple window, the centre light taller than its neighbours, > embraced by a label moulding which echoes the stepping of the gables. Single > pointed lancets with mouldings akin to that on the front door light the > gables. Above the steep tiled roof rise two chimneys with a pair of > diagon¬ally set stacks apiece. Nowadays it appears that the almshouses rival > the inmates in their decayed circumstances, for, while the black and white > paint-work is tidy, the facade shows an alarming inclination to land at the > feet of those who stand in front to admire it.
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Since at least the 13th century, Garford has been part of the ancient ecclesiastical parish of Marcham. The Church of England chapel of Saint Luke dates from the 13th century, but was largely rebuilt in 1880 by Gothic Revival architect Edwin Dolby. The east window of the chancel is a pair of 13th-century lancets and the south doorway of the nave is also largely 13th century. There is a 14th- or 15th-century window in the south wall of the nave, and a 16th- or 17th-century window on the south side of the chancel.
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There exists a two-storey eastward extension of the north transept, dating to the 15th century; the north window of this extension is timber, possibly dating to the 18th century. The chancel windows stand upon a continuous string course, retaining their original houd moulds. The east piscina and the triple sedilia are cinquefoiled, featuring flattened arches upon detached shafts, as well as moulded caps and bases. The chancel and nave of the church The west tower begun construction during the late 13th century; this is evident in the remains of the lancets in the lower stage.
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Only the lowest and highest storey have windows. There is a single-light trefoiled lancet above the entrance and small round-arched windows in the side wall on the lowest storey; at the top the north wall has a clock and there are 19th-century lancets in the other three faces. This section also holds a ring of eight bells hung for change ringing. There were originally five bells cast in 1773 by Thomas Janaway; two of these remain as the second and third of the present ring of eight, for which the other bells were cast in 1934 by Gillett & Johnston.
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There are two small oculi in the form of quatrefoils above the porch gables, and another larger (stretched) quatrefoil oculus with a hood mould between the peak of the window and the upper gable of the chapel. Offset to the right is a Gothic-style tower of two stages, the upper stage slightly narrower and with buttresses rising nearly to its turreted top; there are small lancets in the lower stage and a much taller, narrow lancet above. The spire sat on top of this turret until it was removed. To the rear is the mission room and schoolroom complex of 1883–84.
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The entrance is in the lowest stage of the tower; above it the roofline of the original 11th-century church can be discerned. Inside is the nave with its north and south aisles and south chapel (now used to house the organ), and the chancel with a restored chancel arch (originally built in the Norman era using clunch, a common building material in Sussex). In the north wall of the chancel, a 14th- century aumbry can be discerned. The tower has rounded-headed windows in its middle stage and tall, much narrower rounded lancets in the upper stage.
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While there are reports of this type of instrument being used in humans, it is more likely that these were reserved for veterinary use, while the common thumb lancet was the instrument of choice for use in people. A survey of 100 fleams found thumb lancets in 6%. These instruments with their triangular-shaped blades were designed to be placed over the vein (most commonly the jugular or saphenous) and struck with a fleam stick. This would ideally result in rapid penetration of the vein with minimal risk to the operator and minimal dissection of the subcutaneous tissues.
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This vestry was added in the 1920s. The nave in its present form dates from the 13th and 14th centuries: no features remain from the original structure. There is a wide range of medieval windows throughout, ranging from 14th-century openings in the nave and Early English Gothic lancets in the chancel to a 15th-century Perpendicular Gothic east window in the chancel and an arched window of 1534 in the west wall. The church was re- roofed internally in two stages: the nave in the 16th century (it was given a crown post roof), and the chancel in the following century.
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In another window, this comprising three lancets, are depictions of saint Even, saint Leucher and saint Thuriau. Even was the 20th bishop of Dol and in the scene beneath his image, the deacon Gilduin is shown refusing the bishopric and recommending to the Pope that Even is given the post. Leucher was the 4th bishop of Dol and in the scene beneath his image we see Leichet using the cross of saint Samson to put out a fire which threatened the church. Beneath Thuriau's depiction, the scene shows Rivallonqui who had set fire to a Dol run monastery asking Thuriau's pardon.
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It dates to 1884 and was the work of the atelier Jacquier and Küchelbecker of Mans. The window's eight lancets each had eight frames. In the lower level, Magloire is shown leaving the world, his being nominated as Samson's successor, his preaching to the people of Dol in front of Mont Dol, abdicating in favour of saint Budoc. In the window's upper level we see Magloire enjoying the solitude of Mont-Dol, curing a rich Breton who gave him half of the island of Sercq where he built a monastery and rescuing a fisherman drowning in the sea.
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The eastern entrance facade consists of a large central gabled bay adjoining a smaller gabled bay to the north and the tower to the south. Access is gained to a porch up seven stairs extending the width of the central bay, and through three segmental arches which are supported on circular granite columns with foliated capitals and resting on elongated octagonal bases. The archways are under a chevroned hood moulding resting on corbels; surmounting the central chevron is a cross. Above the porch opening is a large window of geometrical tracery, with lancets under a large circular light.
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Door handle designed by A.H. Thompson It is built of rusticated gritstone ashlar, and the roof is of Westmorland slate with a crested ridge and raised gables. The gabled porch opens into the south side of the nave, and as of 2014 the porch door had the original Arts and Crafts, hand-made and decorative, wrought iron hinges and door-handle plate. There is plate tracery on the east and west windows, and on the transept windows. However, there are paired cusped lancet windows in the nave, and single cusped lancets either side of the east window.
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St Dunstan's is constructed in red Ruabon brick and has a slate roof. Its plan consists of a five bay nave with a clerestory and a northwest baptistry, north and south aisles, north and south porches, and a two-bay chancel with a north chapel and a south transept acting as an organ loft. Towards the west end of the church is a copper-covered flèche containing two-light bell openings. At the west end is the baptistry, and a west window consisting of five stepped lancets, which are flanked by octagonal turrets with pyramidal roofs containing lucarnes.
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Bell wrote to the Institution again in 1804, having learned of Pearson's involvement. In 1805, at Pearson's instigation and the institution's invitation, Jesty gave his evidence before 12 medical officers of the institution at its base on the corner of Broadwick Street and Poland Street in Soho. Robert, Jesty's oldest son (by then 28 years old) also made the trip to London and agreed to be inoculated with smallpox again to prove that he still had immunity. After Jesty had been cross-examined, he was presented with a long testimonial and pair of gold mounted lancets.
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The Normans rebuilt and lengthened the chancel in around 1238. The east window triple lancets which still survive in the structure today date from this time as do the window and doorway with its dog-tooth decoration on the north side of the sanctuary. However, from the Lincoln Cathedral Registry—Wheathampstead fell with the See of Lincoln until 1845—the building of the central tower dates to about 1290 AD, which is the first definitive date that can be ascribed to the church. St. Helen's is built of flint rubble, or Totternhoe clunch, with flint facings and limestone dressings.
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There are various theories about the origin of the word Quilpué. According to some, Quilpué means place where there are pigeons, arguing that pigeons were found abundantly in the area and that the name derives from the aboriginal words cullpo (dove) and hue (place). Other authors suggest that it means place of the stone lancet, because the Picunches (the indigenous Mapuche people) were experts in the manufacture of these items that were used for medical procedures. Numbers of these stone lancets have been found in the area's archaeological sites, as well as the original formation which was quarried for them.
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Holy Trinity Parish Hall is a substantial, single-storeyed brick building with a multi- gabled roof. It is a plain but well-resolved design, incorporating motifs common to Gothic-styled ecclesiastical building in the cruciform plan, spire (roof ventilator), lancet windows and joinery detailing. The building rests on a base of pale cream bricks and the red brick exterior walls are decorated with bands of the same cream brick, which accent the wall face and the window sills and heads. Windows are simple lancets and door openings have flat stone lintels with corbelled shoulders or pointed arches of cream brick.
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The War Memorial Library is located immediately to the east of the Main Building, and terminates a vista to the west from Gregory Terrace which is framed by two 1960s buildings. It is a free-standing octagonal Gothic building with stained glass windows, and is made of red brick in English bond with sandstone dressings. It has a steeply pitched slate-tiled octagonal roof covering a single-storeyed space of tall proportions. The building has stepped buttresses at the corners of the octagon, while the faces of the octagon have paired lancet windows alternating with single lancets which have dormers above.
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Administration Building (formerly Science Building), 2011 The Science Wing is a two-storeyed Collegiate Gothic building adjoining the eastern wing of the Main Building to the north. Complementing the Main Building in form, the Science Wing is made of brick with light masonry dressings, and employs a similar formal language of parapeted gabled bays with corners buttresses to the north, east and west. It has a pitched tiled roof, with a pyramidal fleche rising above the roof line. The western and eastern elevations consist of single gable ends, with two large pointed arch windows surmounted by three small lancets.
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OneTouch meters are sold in kits containing a carry case, a lancing device, control solution, sample quantities of lancets, and a replacement cap for use with the sampling device when using alternative site testing. The OneTouch Ultra 2 Meter is similar in design and operation to the OneTouch Ultra Meter, but also offers Before and After Meal Flags, Comments, and a list style memory recall. This meter also provides 7-day, 14-day, and 30-day averages, with the option of averaging Before meal or After Meal records. Currently there are two products in the LifeScan OneTouch family.
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The first stage has gabled Buttresses with roll-moulded edges. The second stage has a clock-face set in on each side and is considerably shorter than any other stage. The final belfry stage has two deeply-recessed paired lancets flanked by single blind lancet panels. There is a drawing in Kensington Public Library which shows that the tower was designed to have been topped with a broach spire, however, this was never built, and the tower seems somewhat abrupt and unfinished without it, as the thin octagonal pinnacles on each corner stand out against the sky.
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The modern Zincalume-like clad roof is steeply pitched over the nave, with gabled projections over the transepts and hipped over the chancels. The side aisles of the church are skillion roofed and abut the nave below the trefoiled clerestory window openings. The principal facade of the church has a centrally located shallow porched entrance, formed by a steeply pitched gable, within which is a heavily moulded pointed arched doorway. Flanking the doorway, at ground floor level are thin lancets detailed like all of the other openings on the church, with contrasting brick quoining and a stuccoed head and sill.
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Kelly's Directory of Lincolnshire with the port of Hull 1885, pp.478, 480 This previous village school is described by Nikolaus Pevsner as "surprisingly large... [with] polychromatic brickwork and an array of lancets." He believes the architect might have been Joseph Sawyer who had built other board schools in the area.Pevsner, Nikolaus ; Harris, John: The Buildings of England: Lincolnshire, Penguin (1964); revised by Nicholas Antram (1989), Yale University Press, p.384. Occupations listed in 1855 included a shopkeeper, cattle dealer, two farmers and a butcher, and in 1872 a bricklayer, a farmer, a beer house proprietor and two saddlers.
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London: Collins; p. 159-60 one has a likeness of St Brannoc with a cow, testament to a tale surrounding him that a neighbour stole his cow, slaughtered it, put it into a stewing pot, and upon shouting the cow's name, Brannoc brought his cow back to life, reassembling it on the spot. The tower of St Brannock's Church is over 700 years old and the chancel which has an arch and three lancets is about the same age. The 15th-century south chapel has a brass palimpsest (a monumental brass that has been re- used), hinged so that both sides are visible.
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Perhaps the largest contribution to Islamic surgical development, came from Abū al-Qāsim Khalaf ibn al-‘Abbās al- Zahrāwī, Abū al-Qāsim, or Al-Zahrawi (936–1013). He contributed to advancements in surgery by inventing and developing over 200 medical instruments which constituted the first independent work on surgery. Such instruments included tools like forceps, pincers, scalpels, catheters, cauteries, lancets, and specula, which were accompanied by detailed drawings of each tool. Al-Zahrawi also wrote the At-Taṣrīf limanʿajazʿan at-Taʾālīf, or At-Taṣrīf (“The Method”), which was a 30-part text based on earlier authorities, such as the Epitomae from the 7th-century Byzantine physician Paul of Aegina.
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The church, a small building which "in scale [is] exactly like churches in nearby villages", is built of stone and flint. The outside walls are rendered apart from at the east end, where the quoins are of stone dressed with ashlar, and the west end which is supported by substantial buttresses. The stonework which has been obscured by render includes some reused fragments of herringbone pattern work of the Norman era and rubble taken from the demolished Roman walls around the city centre. The windows, all lancets, vary in date from 13th- to 19th-century; the three-light east window dates from the latter.
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The old tower to the west of the present church, which features ashlar sandstone, seems to have been part of the medieval parish church which was endowed as a collegiate church in 1442 by Sir Duncan Campbell. The church is lit by single lancet windows on the main southern wall and by wider traceried lancets on the eastern and western gables. The church contains a number of stained glass windows, many by Stephen Adam, including life of Christ scenes and a portrait of George Miller of Invereck as St Matthew. Adam's successor, Alfred Webster, designed a number of later windows, including a war memorial window in the northern gable.
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Under Sparke's oversight, money was found from donors, groups, bequests, even gifts by the artists themselves, and by Edward Sparke himself. A wide variety of designers and manufacturers were deliberately used, to help find the right firm to fill the great lancets at the east end. In the event, it was William Wailes who undertook this in 1857, having already begun the four windows of the octagon, as well as contributions to the south west transept, south aisle and north transept. Other windows were by the Gérente brothers, William Warrington, Alexander Gibbs, Clayton and Bell, Ward and Nixon, Hardman & Co., and numerous other individuals and firms from England and France.
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The church is tall: there is little distinction between the height of the nave and the chancel, and the chancel arch between them is modest. It is entirely of moulded brick with responds on the walls. The aisles are of five bays, each with paired lancet windows, are "lean-to" in style; they project below the clerestory with paired lancets and an oculus to the first and fifth bays and three stepped lancet windows to the other bays. The east window has five lights in a distinctive layout, all set in an arched recess: the middle window is a tall lancet, and the flanking pairs have -tracery.
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Sandstone quoining is found on the corners of this small projection and around several small lancets on each of the faces. This sandstone quoining is repeated on the facade of the building, around the tripartite lancet windows centrally located above the baptismal projection. Flanking the projection are attached sandstone buttresses tapering toward the roof and demarcating a change in roof line which is more shallow over the internal side aisles. The principal entrance to the building is at the western end of the northern side of the church where a large double door is recessed in a pointed arched opening surrounded by sandstone quoining and mouldings.
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Further east are two three-light Perpendicular windows. In the west wall of the aisle is a two-light window, and in its east wall is a three-light window, both of these dating from the 14th century. The north aisle has a plain parapet, and its north wall contains a blocked door, two 14th-century two-light windows, a large three-light 16th-century Perpendicular window, and a three-light 17th- century window containing lancets in a square surround. At the west end of the aisle is a two-light 14th-century window, and at the east end is a three-light 15th-century Perpendicular window.
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In about 1340 the chancel and north aisle were rebuilt and the chancel arch was enlarged. The Decorated east window, an ogee- headed south window and matching tomb recess in the chancel, and one of the windows in the north aisle, all date from this time. In the 15th century three of the single lancets on the north side of the clerestory were replaced with two-light square-headed windows, two large windows were inserted in the south wall of the south chapel and one in the south wall of the chancel. Also 15th century are the piscinas in the chancel and south chapel, and the octagonal font.
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The youthful Virgin of the Annunciation, Peter the fisherman, John the itinerant preacher and Joseph the carpenter are all depicted in robes of the most sumptuous nature, lined with cloth of gold and lavishly decorated at the edges with rubies and pearls. In the years immediately following World War I, many of these windows were created by the more conservative studios as memorials to fallen soldiers. Hence there are countless two-light windows of St George and St Michael and even more lancets of the Good Shepherd gathering his lost sheep to the fold. These are the last product of the second Golden Age of stained glass window production.
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The plan features a wide chancel and aisled nave, both of which have prominent apses at the geographical north end, a gable-roofed entrance porch leading to a narthex with hipped roofs, a small belfry topped with a stone spirelet, and a vestry. Most of the windows are small lancets, such as the range of six above the entrance porch, but the five around the chancel apse are taller. The interior is simple and open, and reminded architectural historians Ian Nairn and Nikolaus Pevsner of Sir Christopher Wren's ecclesiastical works: they described it as "very intelligent, rational, [...] logical [and lacking] the artificial piety of the 1860s".
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The sanctuary is colorfully illuminated by 73 faceted glass windows designed by Willet Studios of Philadelphia. The windows comprise one of the largest collections of faceted glass in the United States. Described in detail in a book published in 2012, the windows range from the shorter windows lining the chancel sides that depict Bible stories to the two enormous transept windows, each made of eight tall lancets. The north transept window contains abstract designs drawn from images in the book of Revelation, and the text at the top reads "I know that my Redeemer liveth and at last will stand upon the earth" (Job 19:25).
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In the north wall are three single lights; the middle window is higher in the wall than the others, and round- headed and dates from the 12th century; the lancets on either side are 13th century additions. There was originally a similar arrangement on the south side, but the west window of the three has been blocked by the later addition of the vestry. The small pointed doorway opening to the vestry is probably a 13th-century priest's door. The chancel arch has two pointed orders with a roll on the western angles with detached jamb-shafts to the outer order, and keeled engaged shafts to the inner.
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The main doorway on the North side, with its interesting design of lozenges broken at an angle, and the West end of the nave, were built when Alan de Craon was lord of the manor. The rest of the nave and the chancel appear to have been rebuilt in the first half of the 13th century, the chancel keeping the width and perhaps some of the wall of its 12th century predecessor. Its east window is made up of three closely set stepped lancets under an enclosing arch. The single lancet windows of the nave are early 14th century, as are the windows on the south walls of the church.
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The church has a tall, five-bay nave, oriented east–west, with a steeply pitched slate roof and lean-to side aisles. The west gable features a four-light window with geometric Gothic tracery. A chancel, somewhat narrower and shorter than the rest of the building, protrudes from the eastern end of the nave; its east gable has lancet windows, the central one taller than the outer two, all below a single continuous hood mould. There are north and south transepts, each buttressed and with two tall lancet windows on their gable ends, and single lancets on their sides; the north transept also has steps leading up to a small door in its side.
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Between the towers is either a single large traceried window, as at York and Canterbury, or an arrangement of untraceried lancets, as at Ripon and Wells, rather than the rose windows typical of French facades. There are usually three doors but unlike those of French cathedrals, they are rarely highly elaborate and far more emphasis is placed on the central door than those to either side. The entrance in most common use is sometimes located in a porch at one side of the nave. Where there are not two large towers at the west front, there are generally two pinnacled turrets that frame the façade or the central nave much in the nature of very large buttresses.
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Because of their greater distance from the viewer, the windows in the clerestory generally adopt simpler, bolder designs. Most feature the standing figure of a saint or Apostle in the upper two-thirds, often with one or two simplified narrative scenes in the lower part, either to help identify the figure or else to remind the viewer of some key event in their life. Whereas the lower windows in the nave arcades and the ambulatory consist of one simple lancet per bay, the clerestory windows are each made up of a pair of lancets with a plate-traceried rose window above. The nave and transept clerestory windows mainly depict saints and Old Testament prophets.
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Side view, 2006 St Joseph's Church, a reinforced concrete structure with a corrugated iron gable roof to the nave and lower skillion roofs to the side aisles, is located on a level site fronting Fryer Street to the southeast. The church consists of the original central section which has had arcades added to both sides with vestries at the rear. The southeast elevation is a symmetrical composition with a central pointed arch entrance with timber doors flanked by lancet shaped niches. The central entrance is surmounted by a large plate tracery window which comprises five lancets surmounted by two quatrefoils and a central foil with eight sections, and framed by an expressed moulding.
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Sonnerat's "surgeon of the island of Luzon" (1776) The pheasant-tailed jacana was described by the French explorer Pierre Sonnerat in his 1776 Voyage à la Nouvelle Guinée in which he included an illustration of the bird that he called "Le Chirurgien de l'Isle de Luzon" or the surgeon of the island of Luzon. He described the bird with the long toes, the elongated feather extensions resembling the lancets used for blood-letting by surgeons of the period. Based on this description, the bird was given a binomial by Giovanni Scopoli in 1787 in his Deliciae florae et faunae Insubricae (Pars II) where he placed it in the genus Tringa. He retained the name chirurgus for the specific name.
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The pinnacles, which extend from the angled buttressing strengthening the tower, are surmounted by sandstone fleur-de-lis, a motif which continues throughout the building. The tower features a number of openings repeated on all sides: a cinquefoil rose at the base; above which is a pair of double lancets with fleur-de-lis opening above; two quatrefoil openings; surmounted by two comparatively small tripartite lancet openings and finally, at the top, two larger lancet openings. The building is constructed from coursed rock-faced sandstone with smooth-faced arch mouldings, string courses, copings, parapet detailing, tracery and carvings. The glazing in the building consists of leadlight panels, with stained and coloured glass sections.
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19th-century window depicting the "Apparition du Sacré-Cœur" in the cathedral Saint-Paul-Aurélien in Saint-Pol-de-Léon This stained glass window dates to the 19th century. It has 5 lancets plus tracery in the tympanum.. The depiction of the "Apparition du Sacré-Cœur" appears in the central lancet with the inscription "VOILA LE COEUR QUI A TANT AIME LES HOMMES". The tracery includes the Dresnay arms crossed with those of La Hay with the motto "En Bon Espoir" and the arms of the Legge family crossed with those of the Dresnays and the motto "Mal se repose qui n'a contentement". The artist who created this window is not known.
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The chancel has 13th-century lancets, some of which have stained glass by Charles Eamer Kempe (one, of St Richard of Chichester, has been described as "of exceptional quality compared with most windows of this period [late 19th century] in Sussex"). The east window of the chancel has stained glass attributed to Thomas Willement. The south aisle, added in the 13th century and unblocked in 1867 during the restoration of that year, has chamfered arches supported on round abaci and octagonal responds. The oldest internal fitting is a 12th-century font of Caen stone, with a round bowl, foliage decoration in the form of honeysuckles, decorative mouldings and an arcade-style motif with scallop-shaped capitals.
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The Turberville Window in Bere Regis Church, Dorset, heraldically describing the descent of the manor of Bere Regis, from the Turberville family to the Earle family and its heirs, the descent from the latter family being the same as for Charborough. The left-most 3 3/4 lancets deal with the Turberville descent, the remainder with Earle and descendant families Admiral the Hon. Sir Reginald Aylmer Ranfurly Plunkett-Ernle-Erle- Drax (1880-1967), of the Royal Navy, who inherited Charborough and Ellerton Abbey and other estates, including Drax Hall in Barbados, from his mother. By royal licence dated 4 October 1916 he assumed the additional surnames and arms of "Ernle", "Erle" and "Drax".
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A square-plan neo-Gothic church with a 3-stage entrance tower, hall and offices, and a basement, the architectural historian John Gifford describes the plan as "unexpectedly orthodox". The principal elevation is aligned with Gilmore Place, which provides access to the main church building as well as the office and function areas. The outside external elevations are of buff-coloured sandstone solid masonry construction, adorned with typical ecclesiastical architectural features including moulded capitels, long narrow lancets, chamfered reveals, an ornate rose window, arched windows and columns with moulded capitals. Internally, the layout is a T-plan interior typical of Presbyterian churches of this era, exhibiting a renewed emphasis on the pulpit as the focal centre around which the congregation assembled to hear the preaching.
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Pinnacled buttresses are employed throughout, those of the transepts being provided with niches and full-length grotesques. The apex of each gable carries a cross. The crossing tower is of three stages, the lower stage (corresponding to the roofs) blank, the second with only very thin single lancets, and the upper with four large blank arches filling each side. From this rises a Perpendicular spire embraced at its base by an arcaded octagonal screen, tied by thin flying buttresses to corner pinnacles on the tower. Jenkins praises this as ‘a device of great delicacy’, and the whole composition as perfect in proportion with the nave and transepts. Pevsner calls the spire ‘one of the finest in the country, not at all showy, but wonderfully satisfying’.
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By 1935, the brand name "Yellow Bus Services" had been added to the vehicles and new Dennis Lancets delivered in 1936 carried a revised livery of creamy yellow with brown wings and flash, and bright yellow wheels. The fleet name now appeared in script within a hexagonal motif with the proprietor's name and telephone number, in gold and black. In 1938, YBS produced an illustrated brochure, "A Yellow Bus Journey", extolling the beauty of the countryside between Guildford and Farnham and suggesting visits to the Watts Gallery and Watts Mortuary Chapel en route, or using the service as a stopping-off point for walks to Frensham Ponds, Crooksbury Hill, Waverley Abbey and other landmarks. This route alone, using 20 seat Dennis Pike buses, carried almost 25,000 passengers in just 3 months of that year.
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An earlier belief that the present cathedral was part of the nave of the older building was based on the existence of remains of a separate medieval church, on the same axis, some way to the east. The chancel arcade and Eastern lancets challenge this conjecture as does the marked difference of floor level which, in the Eastern fragment, is some metres lower. Richard de Clare, 2nd Earl of Pembroke (of the first creation), Lord of Leinster, Justiciar of Ireland (1130 - 20 April 1176), also commonly known as Strongbow (French: Arc-Fort), is sometimes said to have been interred at Ferns Cathedral, but there is no evidence for this, and Giraldus Cambrensis, who was a contemporary eyewitness, specifically notes that he was buried within sight of the cross at Christ Church cathedral in Dublin.
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At the time of the opening in 1914, the correspondent for The Methodist described the church as follows: The main material used in the building is brick, relieved by stone-dressings introduced at openings, and with a high stone base course throughout. The brickwork is tuck-pointed, such parts usually plastered inside are tuck-pointed also. The elevation to Tryon Rd shows a fine gable with large triplet windows of leaded coloured glass in original designs, on the south side is the turret, containing a fine toned bell, and on the north side a large porch, each giving access to the main building. The interior of the church which is by is lit from the sides by eight windows, each of to lancets and circle grouped and filled with leaded coloured glass, similar to the front.
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Physicians, medical journals, and editors have described Wakefield's actions as fraudulent and tied them to epidemics and deaths. An investigation by journalist Brian Deer found that Wakefield had multiple undeclared conflicts of interest, had manipulated evidence, and had broken other ethical codes. The Lancet paper was partially retracted in 2004 and fully retracted in 2010, when Lancets editor- in-chief Richard Horton described it as "utterly false" and said that the journal had been deceived. Wakefield was found guilty by the General Medical Council of serious professional misconduct in May 2010 and was struck off the Medical Register, meaning he could no longer practise as a doctor in the UK. In 2011, Deer provided further information on Wakefield's improper research practices to the British Medical Journal, which in a signed editorial described the original paper as fraudulent.
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Wakefield's paper "Ileal-lymphoid-nodular hyperplasia, non-specific colitis, and pervasive developmental disorder in children" was published in The Lancet on 28 February 1998. An investigation by journalist Brian Deer found that Wakefield had multiple undeclared conflicts of interest, had manipulated evidence, and had broken other ethical codes. The Lancet paper was partially retracted in 2004 and fully retracted in 2010, when The Lancets editor-in-chief Richard Horton described it as "utterly false" and said that the journal had been deceived. Wakefield was found guilty by the General Medical Council of serious professional misconduct in May 2010 and was struck off the Medical Register, meaning he could no longer practise as a doctor in the UK. In 2011, Deer provided further information on Wakefield's improper research practices to the British Medical Journal, which in a signed editorial described the original paper as fraudulent.
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The interior with its tall, open timber-trussed roof is decorated with string courses and brickwork of contrasting colour, as well as carvings and mosaics. Elegant features, such as the narrow Gothic windows in the chancel and the slender timber trusses, mingle with the robustly carved foliage which adorns the capitals to the nave columns and the black-banded red brick arcade itself. The capital above the pulpit with its four heads of angels is more delicately executed than the rest and is the only one on which figures appear. Carvings of the symbols of the four Evangelists – man, lion, ox and eagle – can be seen in the chancel next to the windows of Saints Matthew, Mark, Luke and John, which flank St Thomas and St Paul in the two central lancets and there is finely carved tracery on the wall panels as well as on the oak altar.
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The work is generally dated by scholars to between the late Warring States period (475-221 BC) and the Han dynasty (206 BCE–220 CE).Title: The Su Wen of the Huangdi Neijing (Inner Classic of the Yellow Emperor) Celestial Lancets (1980, by Joseph Needham and Lu Gwei-Djen) states that the consensus of scholarly opinion is that the Suwen belongs to the second century BCE, and cites evidence that the Suwen is earlier than the first of the pharmaceutical natural histories, the Shennong Bencao Jing (Divine Farmer's Classic of the Materia Medica). So suggestive are parallels with third and fourth century BCE literature that doubt arises as to whether the Suwen might be better ascribed to the third century BCE, implying that certain portions may be of that date. The dominant role the theories of yin/yang and the five elements play in the physiology and pathology indicates that these medical theories are not older than about 320 BCE.
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The great liturgical east altar window on this back end consisted of five lancets topped by a great circular mullioned Rose Window: In all, the altar window contains 1400 panes of glass, and was the greatest such window in the United States in its day. St. Paul's Troy, New York, 2009 St. Paul's Episcopal Church in the Hudson River town of Troy, New York closely resembles Town's Trinity Church except that it was built using a different type of stone of a different color: the building contract specified that the new church was to be a copy of Ithiel Town's Trinity Church in New Haven. While Ithiel Town may not have been on site at any time during St. Paul's construction, it appears he authorized the use of his original design for Trinity, given the accuracy of the replication.Pierson, William H., Jr., Technology and the Picturesque, the Corporate and Early Gothic Styles, American Buildings and Their Architects, Vol.
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Exploring the mansion, Oliver encounters several spirits of patients who are bound to the asylum by their possessions, including a teenage girl with hysterical pregnancy, a schizophrenic who believes she's English royalty, and a depressed woman who was treated with steam baths and hydrotherapy. Oliver discovers that his father psychologically tortured to suicide or allowed several of his patients to be killed under the guise of accidents during treatment. This is counterpointed by the sterile and rose-tinted explanations from the museum equipment for the same procedures or implements (lancets are described as an attempt to bring the bodies humours into balance, where the spirit of a patient with Alzheimer's disease declares they were used liberally so patients could not defend themselves). Disheartened by the failure of traditional medicine, Oliver's father gradually turned to more and more extreme methods, including totally dismembering and vivisecting an 8-year-old boy to cure his illness.
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The east wing of the museum is used for temporary exhibitions, meetings and similar activities. On the ground floor, the display of bows and arrows in the first room is followed by sections containing the weapons and other regalia of the cavalry, curved daggers and lancets carried by foot soldiers in the 15th century, 17th century copper head armor for horses and Ottoman shields carried by the janissaries, and sections devoted to Selim I, Mehmet the Conqueror, the conquest of Istanbul, weaponry from the early Islamic, Iranian, Caucasian, European and Turkish periods. This floor also houses a unique collection of helmets and armor, as well as the sections allocated to firearms and great field tents used by sultans on their campaigns. On the upper floor there are rooms where objects from World War I, the Battle of Gallipoli, and the Turkish War of Independence, and uniforms from more recent times are displayed.
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First north aisle window of St Peter and St John the Baptist's Church, Wivelsfield, East Sussex Spear's style was much influenced by that of Martin Travers, employing a restrained English idiom. The experimentation of church window design in the thirties was replaced in the post-war period with a demand, in the rebuilding of churches, that the great Christian themes should be presented in what was considered to be a convincing and reasonably conventional manner. There are good examples of Spear's style at St Gregory's Canterbury (1949), Felmersham in Bedfordshire (1951), St John's in Bromley (1951), several windows in St Bartholomew's in Sydenham (1953) and the east window at St Alphege in Greenwich (1953) which respects the Baroque architecture. High points in Spear's career can be seen as his west window at Warwick School, the east window (1951) and lancets (1953) of Glasgow Cathedral, a series of windows in St George's Cathedral, Cape Town (1957–66), and in a rather more radical idiom, his 1962 west widow at All Saint's, Penarth.
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Life of Charlemagne (detail of bay 7) The stained glass windows of Chartres Cathedral are held to be one of the best-preserved and most complete set of medieval stained glass, notably celebrated for their colours, especially their cobalt blue. They cover 2600 square metres in total and consist of 172 bays illustrating biblical scenes, the lives of the saints and scenes from the life of trade guilds of the period. . . Some windows survive from an earlier Chartres Cathedral, such as the three lancets on the west front (1145–1155, contemporary with those made for Abbot Suger at the Basilica of Saint-Denis) and the lancet south of the choir known as 'Notre-Dame de la Belle Verrière', famed for its Chartres blue (1180). However, most of the windows were probably made between 1205 and 1240 for the present church, taking in the Fourth Crusade (bringing a large number of important relics to Chartres) and the Albigensian Crusade, as well as the reigns of Philip II Augustus (1180–1223) and Louis VIII (1223–1226), with the building's consecration finally occurring in 1260 under Louis IX (1226–1270).
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In its current form, the church consists of a 6½-bay nave (of which the three westernmost bays form the church hall), aisles on the north and south sides, chancel with chamfered arch, apsidal Lady chapel with a lead roof, porch, vestry, clerestory and small flèche. Charles Eamer Kempe, an important stained glass designer of the Victorian era, provided the window at the east end and one in the south aisle, and many of the other windows (most of which are lancets) also contain stained glass. Local firm Cox & Barnard supplied three of these: designer Anthony Gilbert provided a window in the south chapel in 1955, depicting Saint George and commemorating parishioner George Howell; in 1960 Paul Chapman designed another window in the same part of the church, in memory of William Cheverton – it depicts Saint Cecilia holding a musical instrument and crowned with "an unusual halo resembling yellow laurel leaves interspersed with roses" – and in the same year, a window commemorating Halcyon Ann Lopez and depicting the virtue of Charity was installed in the south side of the nave. A new bell was cast for the church in 1961.
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