Stiffleaf's photos

winged skull detail on tomb of john offley and his wife elizabeth moore and their children, after 1678, and signed w. linton , but closely based on a design by william stanton in the v and a. the arms are of offley and moore.

c17 heraldic panel in chancel of church

this memorial in the shape of a column is to richard draper 1756

thomas doughty 1694

the chancel inside the church rebuilt by roumieu and gough has neo-norman windows of 1848 and an apparently c18 ceiling with late c20 sunburst detail

this monument erected by baroness burdett coutts in 1877 in the form of a sundial was designed by g.highton and is in commemoration of graves disturbed by the encroachment of the railway. thomas hardy the author was involved in supervising the necessary disinterrment and reburial of thousands of bones.

this monument erected by baroness burdett coutts in 1877 in the form of a sundial was designed by g.highton and is in commemoration of graves disturbed by the encroachment of the railway. thomas hardy the author was involved in supervising the necessary disinterrment and reburial of thousands of bones.

all manner of people ended up buried in st.pancras graveyard and the contiguous burial ground of st.giles in the fields, including the transvestite spy the chevalier d'eon 1810, the architect john soane 1837, the sculptor john flaxman 1826, william godwin 1836 and mary wollstonecraft 1797, the composer johann christian bach 1782 and a good selection of criminals and suicides unwanted elsewhere. there are many c18 and c19 tombs such as these ones around the church.

the norman church of st.pancras has roots back in saxon times, but most of what is visible today is the neo-norman work of 1848 by roumieu and gough, though the odd half timbering dates from a later rebuild

the norman church of st.pancras has roots back in saxon times, but most of what is visible today is the neo-norman work of 1848 by roumieu and gough, though the odd half timbering dates from a later rebuild

font cover of the late c17

the monument of 1815 by john soane to his wife elizabeth stands over his family vault where she lies with him and his estranged son. note the snake orouborus biting his own tail on the drum above the canopy, below the pinecone finial. the shape of this tomb was used by giles scott in his design for the telephone kiosk, and ultimately also for the police box used by dr.who.

the 1815 monument by john soane to his wife elizabeth stands over his family vault where she lies with him and his estranged son. the shape of this tomb was used by giles scott in his design for the telephone kiosk, and ultimately also for the police box used by dr.who.

the 1815 monument by john soane to his wife stands over his family vault where she lies with him and his estranged son. the finial is a pinecone, and just below on the drum is carved a snake biting its own tail, a symbol of eternity. the shape of this tomb was used by giles scott in his design for the telephone kiosk, and ultimately also for the police box used by dr.who.

this cherub with estinguished torch is from the 1815 monument by john soane to his wife elizabeth which stands over his family vault where she lies with him and his estranged son

the 1815 monument by john soane to his wife stands over his family vault where she lies with him and his estranged son

goats and snakes on wall arcade in st.patrick's chapel, early c20

birds and flowers and goats' heads on wall arcade in st.patrick's chapel, early c20