St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows in the sanctuary.

"Ecco Homo" are the Latin words for "Behold the Man" used by Pontius Pilate when he presented a scourged Jesus, bound and crowned with thorns, to a hostile crowd shortly before Jesus' crucifixion.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

Gerbera Flowers shot at Home Studio with simple lighting setup

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows above the sanctuary.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the south ambulatory.

Bishop James Hannington, who is depicted in this south ambulatory window, was born in 1847. He was an English missionary to Zanzibar, and became the first Bishop of Eastern Equatorial Africa in 1885. He was murdered that same year by Ugandans whist leading a dangerous expedition to open up a shorter to route to Lake Victoria Nyanza.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.

Florence Nightingale, who is depicted in this north ambulatory window, was a highly educated woman, who is famous for improving sanitary conditions in military hospitals in the Crimea. She is commonly referred to as the "Lady with the Lamp" and she is most commonly associated with the Red Cross.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

Comment:

Face: Very nice ghostly make up. I love the way she seems to have something in her eyes, like she's looking into the sky. Not many Barbie has a nice black hair. So this is a must for collector =]

Dress: Very lovely combination of all antique colours like teal, gold and black. Tiara is nicely designed decorated with clear brown jewels. I think tiara is one of the hi-light for this doll.

Box: Artistic design of the backgorund and the back of the box. I am not a fan of this type of window box (I love the cake box design). I may not take her out of the box, because it's not easy to unpack with this kind of box (I have experience with Couture Angel No.1). So let's keep her this way.

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.

Elizabeth Fry, who is depicted in this north ambulatory window, was born in 1780. She was an eminent philanthropist and was fundamental in prison reform in the Nineteenth Century. She was amongst the first people to insist that prisoners receive help as well as punishment, if they were to become good citizens. She campaigned tirelessly for education for female prisoners incarcerated at Newgate Prison.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

This old churchyard is known as St. John’s and it is located on Dublin Road. This was my first my second visit but the weather was still very bad and the light was poor.

The colour of the gravestones was different to what I normally see in Irish graveyards [orange/brown rather than grey/white ]

“A picturesque graveyard forming an appealing feature in the streetscape on the road leading out of Kilkenny to the south-east. Having origins in a fourteenth-century leper hospital the grounds are of special significance as the location of a seventeenth-century Catholic chapel, thereby representing an early ecclesiastical site in the locality: furthermore it is believed that fragments survive spanning the fourteenth and seventeenth centuries, thereby emphasising the archaeological importance of the site. The graveyard remains of additional importance for the associations with a number of Kilkenny's foremost dignitaries or personalities while a collection of cut-stone markers displaying expert stone masonry identify the considerable artistic design

Frankfurt, Übernachtungsstätte Ostpark

A syrian artistic design on a wooden box which is normally a specialty of Damascus.

Photo. A Steven Chateauneuf Creation.

PLEASE do NOT post this image on other websites without my permission.

Art Eats Bakery

Greenville, SC, 29607

www.arteatsbakery.com

Phone: 864-201-4448

Email: sales@arteats.com

We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food Network Challenge audition video www.youtube.com/watch?v=qsEr3J5siTg

All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.

Please visit our website for more photos and information.

Make your appointment today for a cake tasting and consultation. Serving the Greenville, Greer , taylors,simpsonville and surrounding areas of Upstate S.C. This cake can be done in square or other shapes and the colors can be changed the match your wedding.

We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com

All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order

The whole cake is covered in edible photos of the Bride and Groom and they are surrounded by sugar pearls. The boarders and topper are hand rolled fondant. This cake can be done in square or other shapes and the colors can be changed the match your wedding.

We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com

All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.

Saint Luke, who is depicted in this north ambulatory window, is depicted as a doctor because of the medical terms quoted in his gospel and acts. He accompanied Paul on his second missionary journey in 52AD.

This window is initialled by Christian Waller.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

Art Eats Bakery www.arteatsbakery.com Art Eats Bakery

Greenville, SC, 29607

www.arteatsbakery.com

Phone: 864-201-4448

Email: sales@arteats.com

We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food network audition video www.youtube.com/watch?v=qsEr3J5siTg

All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.

Please visit our website for more photos and information.

Make your appointment today for a cake tasting and consultation. We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower, ect. should be celebrated in style.Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com

All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order. We want you to enjoy our desserts fresh baked.

Model:Kawaï Von Tierisch

Photo: Black Veil Photography

Clothes/accessories: Black Veil Couture

Copyright : ift.tt/2T3zwgF

Facebook : ift.tt/2XXFHGF

Instagram : @alexis.von.lelouch

www.arteatsbakery.com Art Eats Bakery The three tier fondant cake has two round tiers and one hexagon tier with a monogram surrounded by sugar pearls. The black ribbon is not edible. Art Eats Bakery

Greenville, SC, 29607

www.arteatsbakery.com

Phone: 864-201-4448

Email: sales@arteats.com

We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food Network Challenge audition video www.youtube.com/watch?v=qsEr3J5siTg

All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.

Please visit our website for more photos and information.

Make your appointment today for a cake tasting and consultation. Serving the Greenville, Greer , taylors,simpsonville and surrounding areas of Upstate S.C. This cake can be done in square or other shapes and the colors can be changed the match your wedding.

We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, anniversary, baby shower, Bridal shower ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com

All cakes and icings are scratch made with the finest fresh ingredients available. Real butter, cream cheese, eggs and fine chocolates make our confections melt in your mouth delicious. We only use natural flavoring. All cakes are made to order

Ballroom tract

The Large Festival Hall during a concert of the Vienna Hofburg Orchestra (another picture you can see by clicking on the link at the end of page!)

The ballroom wing was built by Ludwig Baumann in the years 1910-23. It connects the New Castle with the Ceremonial hall tract and has the main side towards the Heroes' Square. It was originally planned as part of by Carl Hasenauer planned 1866 and by Gottfried Semper 1869 generously remodeled "Imperial Forum".

The Grand Ballroom is with approximately 1,000 m² the largest hall in the whole Hofburg. Although it was designed as a throne hall, it was never used as such: the interior construction ended in 1923, the artistic design remained incomplete. Three ceiling paintings by Alois Hans Schramm glorify the Habsburg rule. As motto served the slogan of Emperor Franz Joseph Viribus Unitis, with joined forces. In the lying below lunettes and octagon panels Eduard Veith and Viktor Stauffer have immortalized personalities of the Austrian history. In the ceiling paintings can be seen Maximilian I, Charles V, Ferdinand I, Rudolf II and Ferdinand II of Tyrol, in the side panels Leopold I, Charles VI, Prinz Eugen and the Polish king Jan III Sobieski.

Since 1958, the Festival Hall tract is used as a convention center of the Hofburg Congress Center & Redoutensäle Vienna. The Euro Vision Song Contest 1967 was held here. Since 1992, the OSCE keeps her an office for the event organization. 2005 the so-called "Kesselhaushof" was covered and converted into a conference hall. In addition to numerous other balls here since 1968 takes also place annually the controversial because of repeated participation of right-wing politicians Wiener corporation ball.

Festsaaltrakt

Der Große Festsaal während eines Konzerts des Wiener Hofburg Orchesters

Der Festsaaltrakt wurde von Ludwig Baumann in den Jahren 1910-23 errichtet. Er verbindet die Neue Burg mit dem Zeremoniensaaltrakt und hat die Hauptseite zum Heldenplatz. Es wurde ursprünglich als Teil des von Carl Hasenauer 1866 geplanten und von Gottfried Semper 1869 großzügig umgestalteten "Kaiserforums" geplant.

Der Große Festsaal ist mit rund 1.000 m² der größte Saal in der gesamten Hofburg. Er wurde zwar als Thronsaal konzipiert, aber nie als solcher verwendet: der Innenausbau endete 1923, die künstlerische Gestaltung blieb unvollständig. Drei Deckengemälde von Alois Hans Schramm verherrlichen die Herrschaft der Habsburger. Als Devise diente der Wahlspruch Kaiser Franz Josephs Viribus Unitis, mit vereinten Kräften. In den unterhalb liegenden Lunetten und Oktogonfeldern haben Eduard Veith und Viktor Stauffer Persönlichkeiten aus der österreichischen Geschichte verewigt. In den Deckengemälden erkennt man Maximilian I., Karl V., Ferdinand I., Rudolf II. und Ferdinand II. von Tirol, in den Seitenfeldern Leopold I., Karl VI., Prinz Eugen und den Polenkönig Jan III. Sobieski.

Seit 1958 wird der Festsaaltrakt als Kongresszentrum von der Hofburg Kongresszentrum & Redoutensäle Wien genutzt. Der Eurovision Song Contest 1967 wurde hier abgehalten. Seit 1992 unterhält hier die OSCE ein Büro für die Veranstaltungsorganisation. 2005 wurde der sogenannte "Kesselhaushof" überdacht und in einen Konferenzsaal umgewandelt. Neben zahlreichen anderen Bällen findet hier seit 1968 jährlich auch der wegen der wiederholten Teilnahme rechtsextremer Politiker umstrittene Wiener Korporationsball statt.

de.wikipedia.org/wiki/Hofburg#Festsaaltrakt

Polymer and Seed Bead Mosaic, 12" x 12" framed. 2015

see "detail view" www.flickr.com/photos/dembicer/24260955481

Collection of Rachel and Erick Fish

Fondant wedding cake with pink calla lillies, vases of sugar flowers and drapes. Art Eats Bakery

Greenville, SC, 29607

www.arteatsbakery.com

Phone: 864-201-4448

Email: sales@arteats.com

We specialize in gourmet one of a kind custom artist designed cake that taste as fantastic as they look. Anything you can dream of can be created in edible art. Make you wedding, birthday, shower or other event unique and memorable with one of our designer cakes. Your friends and family will be impressed with the professional quality look and taste of the cake you serve. See our Food network audition video www.youtube.com/watch?v=qsEr3J5siTg

All of our cakes and icings are made from scratch with the highest quality ingredients available. We even make our own fondant and it taste great. We only bake to order except our Friday and Saturday limited specials, so check our advance ordering information.

Please visit our website for more photos and information.

Make your appointment today for a cake tasting and consultation. Serving the Greenville, Greer , taylors,simpsonville and surrounding areas of Upstate S.C.

Art Eats Bakery www.arteatsbakery.com This cake can be done in square or other shapes and the colors can be changed the match your wedding.

We specialize in creative artistic designed cakes that are as delicious as they look for any special day. A wedding, birthday, aniversary, new baby, shower, Groom's,ect. should be celebrated in style. Your special day can be as unique as you are. Cakes can be sculpted into any shape you desire. Sugar or chocolate sculpture adornments of flowers, seashells, ribbons, purses, shoes, jewelry, figures, ect. add a unique element that can even be made as a keepsake. All decorations are edible unless otherwise stated. Personalize your day to reflect your style. Serving Greenville, Simpsonville, Mauldin, Greer and surrounding Upstate South Carolina areas. email at sales@arteats.com

Japanese Garden, Portland, OR

I always liked the fact that many of the Japanese gardens have been designed with harmony and balance in mind. No wonder that the designed symmetry of this garden created a natural balance in this picture. Fall foliage added a bit of color contrast. Overall it is very easy to create a good picture from an artistically designed space.

Please visit My Website

Model:Kittycatlv

Photo: Black Veil Photography

Clothes/accessories: Black Veil Couture

Copyright : ift.tt/2T3zwgF

Facebook : ift.tt/2XXFHGF

Instagram : @alexis.von.lelouch

First Visit 9 MAY 2016

While wandering around the city of Kilkenny I managed to get locked into an area that I was exploring and it took me a long to find a way out but then I came across this old graveyard. It is known as St. John’s and it is located on Dublin Road. This was my first visit but as the weather was very bad I decide that it might to best to revisit the next morning.

“A picturesque graveyard forming an appealing feature in the streetscape on the road leading out of Kilkenny to the south-east. Having origins in a fourteenth-century leper hospital the grounds are of special significance as the location of a seventeenth-century Catholic chapel, thereby representing an early ecclesiastical site in the locality: furthermore it is believed that fragments survive spanning the fourteenth and seventeenth centuries, thereby emphasising the archaeological importance of the site. The graveyard remains of additional importance for the associations with a number of Kilkenny's foremost dignitaries or personalities while a collection of cut-stone markers displaying expert stone masonry identify the considerable artistic design value of the site.”

Model:Kawaï Von Tierisch

Photo: Black Veil Photography

Clothes/accessories: Black Veil Couture

Copyright : ift.tt/2T3zwgF

Facebook : ift.tt/2XXFHGF

Instagram : @alexis.von.lelouch

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows above the sanctuary.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

kunstzinnige vormgeving.

artistic design.

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows in the sanctuary.

This window is last of four stained glass windows that depict the events just prior to the Crucifixion of Jesus, the Crucifixion itself and the Resurrection of Jesus.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

One Thousand and One Nights (sometimes referred to as Arabian Nights) Arabian Nights is a two-part ballet written in 1979. The music of the ballet was written by Fikret Amirov, and the libretto was written by Magsud and Rustam Ibrahimbeyov based on the fairy tale " Arabian Nights”. The premiere of the ballet took place in 1979 at the Azerbaijan State Academic Opera and Ballet Theater.

Music, choreography, libretto and artistic design are in organic unity in the ballet written on the basis of Arabic tales. Captivating melodies, colorful harmonic language and orchestration, the alternation of sincere lyrical scenes with folk scenes and household scenes are the main features of the Arabian Nights ballet. One of the main highlights of the ballet is the use of the female voice in the timbre dramaturgy. At the beginning of the ballet, the women's chorus, which sounds against the background of the orchestra's gentle, charming flowing intonations, is sad, but reflects the belief in bright dreams and devotion.

"Arabian Nights" is a deep philosophical play. It is a hymn to woman, her love and wisdom. Expressing very complex and deep ideas through dance is the greatest achievement of the composer in this genre.

Introduction

Lento - Amore

The first act

No. 1 Duet of Shahriyar and Nurida: Andante

No. 2 Dance of the Archers: Sveltezza

No. 3 Variation of Shahriyar: Esaltato

No. 4 Nurida's monologue: Moderato ancioso

No. 5 Orgy: Presto-vivace

No. 6 Death of Shahriyar and Nurida: Andante moderato

No. 7 Shahriyar's monologue: Andante tragico

No. 8 Dance of the executioners: Andante duramente

No. 9 Shahriyar's Wrath: Allegro irato

No. 10 Executioners chasing women: Inferhale-Lamento

No. 11 Women's prayer and supplication: Adagio - pianto suplicare

No. 12 Shahriyar's fury: Allegro feroce

No. 13 Shahrizade: Allegretto grazioso

No. 14 Shahriyar and Shahrizade's duet: Lento-Amore

The second act

No. 15 Night: Lento-Goncitato

No. 16 First Tale: The Maiden, Sinbad the Sailor, and the Spirit Bird: Adagio limpido

No. 17 Dance of the executioners: Andante duramente

No. 18 Night: Lento-Concitato

No. 19 The second tale: Aladdin and the magic lamp: Allegretto brillante

I. The market of Baghdad

No. 20 Dance of the executioners: Andante duramente

No. 21 Night: Lento-Concitato

No. 23 Third Tale: Alibaba and the Forty Thieves: Allegro vivace

I. Persecution

II. Dance of the Coral: Andante splendidezza

No. 24 Shahriyar and executioners: Allegro elevato

I. Shahriyar in the world of fairy tales

No. 25 Duet of Shahriyar and Shahrizadeh: Adagio amoroso

No. 26 Archers: Sveltezza

No. 27 Shahrizade's monologue: Moderato con anima

No. 28 Shahrizade's feast: Allegretto festante

No. 29 Finale: Allegretto elevato

"Located at Blackpool’s newly regenerated South Shore Promenade, the “Rotating Shelter” by Ian McChesney is an 8-meter-tall wind vane that will counter the strong sea winds and shelter the inhabitants sitting at the base. The shelter is finished with resilient “Duplex” stainless steel and stands tall at eight meters. Sitting on a turntable (4-meter diameter) with a built-in damper to control the speed of rotation, the shelter is designed to rotate according to the prevailing wind direction. The radical shelter works around two key elements – the vane, which rotates the structure – and a baffle that protects the occupants from the furious sea wind. The shelter is not just functional in use, but also boasts an artistic design, which bestowed it with the prestigious Civic Trust Award."

www.designbuzz.com/blackpool-rotating-shelter-a-majestic-...

this shot belongs to Soltan Amir Ahmad public bath house in kashan. it is constructed in 16th century, the architecture and interior decoration of bath house is glorious with wonderful artistic design and details. it was open to the people till few decades ago.

I started the set with this bath house, but the other persian bath houses will be added to the set.

all shootings are done with low exposure time and hand held. the lightening condition was not suitable, but I am satisfied with the result not because of the images quality(that is not so good) but because of they remind me that how great artsts we have been and created wonderful masterpieces even in such a highly humid places.

Brillance captures the aura of natures picturesque horizon

basking in the summer hues of blazing horizontal line

Shades of gray form the stage for this mystical beauty of Male' (A capital city of Maldives), West side of harbour after sunset!

An awesome chance to gaze upon, Mother Natures artistic design.

Look!

From Wikipedia, the free encyclopedia

The Christian cross, seen as a representation of the instrument of the crucifixion of Jesus Christ, is the best-known religious symbol of Christianity.[1] It is related to the crucifix (a cross that includes a usually three-dimensional representation of Jesus' body) and to the more general family of cross symbols.

Pre-Christian crosses

The cross-shaped sign, represented in its simplest form by a crossing of two lines at right angles, greatly antedates, in both East and West, the introduction of Christianity. It goes back to a very remote period of human civilization. It is supposed to have been used not just for its ornamental value, but also with religious significance.[2]

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Christianity

Some have sought to attach to the widespread use of this sign, in particular in its swastika form, a real ethnographic importance. It may have represented the apparatus used in kindling fire, and thus as the symbol of sacred fire or as a symbol of the sun, denoting its daily rotation. It has also been interpreted as the mystic representation of lightning or of the god of the tempest, and even the emblem of the Aryan pantheon and the primitive Aryan civilization.[2]

Another symbol that has been connected with the cross is the ansated cross (ankh or crux ansata) of the ancient Egyptians, which often appears as a symbolic sign in the hands of the goddess Sekhet, and appears as a hieroglyphic sign of life or of the living. In later times the Egyptian Christians (Copts), attracted by its form, and perhaps by its symbolism, adopted it as the emblem of the cross.[2] In his book, The Worship of the Dead (London, 1904), p. 226, Colonel J. Garnier wrote: "The cross in the form of the 'Crux Ansata'… was carried in the hands of the Egyptian priests and Pontiff kings as the symbol of their authority as priests of the Sun god and was called 'the Sign of Life'." [3]

In the Bronze Age we meet in different parts of Europe a more accurate representation of the cross, as conceived in Christian art, and in this shape it was soon widely diffused. This more precise characterization coincides with a corresponding general change in customs and beliefs. The cross is now met with, in various forms, on many objects: fibulas, cinctures, earthenware fragments, and on the bottom of drinking vessels. De Mortillet is of opinion that such use of the sign was not merely ornamental, but rather a symbol of consecration, especially in the case of objects pertaining to burial. In the proto-Etruscan cemetery of Golasecca every tomb has a vase with a cross engraved on it. True crosses of more or less artistic design have been found in Tiryns, at Mycenæ, in Crete, and on a fibula from Vulci.[2]

Early Christian use

See also: Early Christianity

During the first two centuries of Christianity, the cross may have been rare in Christian iconography, as it depicts a purposely painful and gruesome method of public execution and Christians were reluctant to use it.[1] The Ichthys, or fish symbol, was used by early Christians.[1] The Chi-Rho monogram, which was adopted by Constantine I in the 4th century as his banner (see labarum), was another Early Christian symbol of wide use.

However, the cross symbol was already associated with Christians in the 2nd century, as is indicated in the anti-Christian arguments cited in the Octavius[4] of Minucius Felix, chapters IX and XXIX, written at the end of that century or the beginning of the next,[5] and by the fact that by the early 3rd century the cross had become so closely associated with Christ that Clement of Alexandria, who died between 211 and 216, could without fear of ambiguity use the phrase τὸ κυριακὸν σημεῖον (the Lord's sign) to mean the cross, when he repeated the idea, current as early as the apocryphal Epistle of Barnabas, that the number 318 (in Greek numerals, ΤΙΗ) in Genesis 14:14 was interpreted as a foreshadowing (a "type") of the cross (T, an upright with crossbar, standing for 300) and of Jesus (ΙΗ, the first two letter of his name ΙΗΣΟΥΣ, standing for 18),[6] and his contemporary Tertullian could designate the body of Christian believers as crucis religiosi, i.e. "devotees of the Cross".[7] In his book De Corona, written in 204, Tertullian tells how it was already a tradition for Christians to trace repeatedly on their foreheads the sign of the cross.[8]

The Jewish Encyclopedia says:[9]

The cross as a Christian symbol or "seal" came into use at least as early as the second century (see "Apost. Const." iii. 17; Epistle of Barnabas, xi.-xii.; Justin, "Apologia," i. 55-60; "Dial. cum Tryph." 85-97); and the marking of a cross upon the forehead and the chest was regarded as a talisman against the powers of demons (Tertullian, "De Corona," iii.; Cyprian, "Testimonies," xi. 21–22; Lactantius, "Divinæ Institutiones," iv. 27, and elsewhere). Accordingly the Christian Fathers had to defend themselves, as early as the second century, against the charge of being worshipers of the cross, as may be learned from Tertullian, "Apologia," xii., xvii., and Minucius Felix, "Octavius," xxix. Christians used to swear by the power of the cross (see Apocalypse of Mary, viii., in James, "Texts and Studies," iii. 118).

In Christianity the cross reminds Christians of God's act of love in Christ's sacrifice at Calvary—"the Lamb of God who takes away the sin of the world." The cross also reminds Christians of Jesus' victory over sin and death, since it is believed that through His death and resurrection He conquered death itself. They venerate it not as a material object seen in isolation but as the symbol of the sacrifice by which Christ saved them, as the instrument of Christ's triumph, according to Colossians 2:15 ("Having disarmed the powers and authorities, he made a public spectacle of them, triumphing over them by the cross"),[10] and "as the instrument of our God's saving Love".[11]

Christian crosses at a joint service for the Week of Prayer for Christian Unity.

Roman Catholics, Eastern Orthodox, Oriental Orthodox, members of the major branches of Lutheranism, some Anglicans, and other Christians often make the Sign of the Cross upon themselves. This was already a common Christian practice in the time of Tertullian.[12]

The Feast of the Cross is an important Christian feast. One of the twelve Great Feasts in Eastern Orthodoxy is the Exaltation of the Cross on September 14, which commemorates the consecration of the basilica on the site where the original cross of Jesus was reportedly discovered in 326 by Helena of Constantinople, mother of Constantine the Great. The Catholic Church celebrates the feast on the same day and under the same name (In Exaltatione Sanctae Crucis), though in English it has been called the feast of the Triumph of the Cross.

Roman Catholic, Eastern Orthodox and Anglican bishops place a cross [+] before their name when signing a document. A cross [†] may also be placed before the name of a departed Christian when their name appears in print.

[edit]Exclusion

Jehovah's Witnesses do not accept the use of the cross as a symbol of Christianity. They claim that there is no Biblical support for doing so and regard it as idolatry. They believe that the cross was widely used by worshipers of Tammuz, a Babylonian god, as his symbol. They believe that Jesus died, not on a two-beam cross, but on an upright stake, in accordance with the interpretation of the Greek word σταυρός (stauros). In classical Greek, this word meant merely an upright stake, or pale. Later it also came to be used for an execution stake having a crosspiece.[13] Although formerly, the Watchtower Society's publications had stated that Christ was crucified on a cross.

Members of the Church of Jesus Christ of Latter Day Saints believe that Jesus died on a cross, however "For us the cross is the symbol of the dying Christ, while our message is a declaration of the living Christ... the lives of our people must become the only meaningful expression of our faith and, in fact, therefore, the symbol of our worship."[14] Latter Day Saints do not place the cross on their buildings because the Bible does not mention the cross as a symbol for Christianity. Most temples will usually decorate one spire of the temple with a symbol of the Angel Moroni as an expression that the heavens have been reopened to man on earth.

[edit]Forms of the Cross

The cross is often shown in different shapes and sizes, in many different styles. It may be used in personal jewelry, or used on top of church buildings. It is shown both empty and in crucifix form, that is, with a figure of Christ, often referred to as the corpus (Latin for "body"), affixed to it. Roman Catholic, Anglican and Lutheran depictions of the cross are often crucifixes, in order to emphasize that it is Jesus that is important, rather than the cross in isolation. Large crucifixes are a prominent feature of some Lutheran churches, as illustrated in the article Rood. However, some other Protestant traditions depict the cross without the corpus, interpreting this form as an indication of belief in the resurrection rather than as representing the interval between the death and the resurrection of Jesus.

Crosses are a prominent feature of Christian cemeteries, either carved on gravestones or as sculpted stelas. Because of this, planting small crosses is sometimes used in countries of Christian culture to mark the site of fatal accidents, or to protest alleged deaths.

In Catholic countries, crosses are often erected on the peaks of prominent mountains, such as the Zugspitze or Mount Royal, so as to be visible over the entire surrounding area.

ImageNameDescription

Altar crossA cross on a flat base to rest upon the altar of a church. The earliest known representation of an altar cross appears in a miniature in a 9th-century manuscript. By the 10th century such crosses were in common use, but the earliest extant altar cross is a 12th-century one in the Great Lavra on Mt. Athos. Mass in the Roman Rite requires the presence of a cross (more exactly, a crucifix) "on or close to" the altar.[15] Accordingly, the required cross may rest on the reredos rather than on the altar, or it may be on the wall behind the altar or be suspended above the altar.

Blessing crossUsed by priests of the Eastern Orthodox and Oriental Orthodox Churches to bestow blessings upon the faithful.

Processional crossUsed to lead religious processions; sometimes, after the procession it is placed behind the altar to serve as an altar cross.

RoodLarge crucifix high in a church; most medieval Western churches had one, often with figures of the Virgin Mary and John the Evangelist alongside, and often mounted on a rood screen

Andrew crossSee, below, Saltire.

Coptic ankhShaped like the letter T surmounted by an oval or circle. Originally the Egyptian symbol for "life", it was adopted by the Copts (Egyptian Christians). Also called a crux ansata, meaning "cross with a handle".

Anthony's crossSee, below, Tau cross.

Archiepiscopal crossA double-barred cross carried by an archbishop.

Armenian cross-stone (Khachkar)A khachkar (cross-stone) is a popular symbol of Armenians.

Calvary crossEither a stepped cross (see below), or a Gothic-style cross mounted on a base shaped to resemble Calvary (the place where Christ was crucified, pictured as a hill), with the Virgin Mary and Saint John on either the base or crossarms.

Canterbury crossA cross with four arms of equal length which widen to a hammer shape at the outside ends. Each arm has a triangular panel inscribed in a triquetra (three-cornered knot) pattern. There is a small square panel in the center of the cross. A symbol of the Anglican and Episcopal Churches.

Celtic CrossEssentially a Latin cross, with a circle enclosing the intersection of the upright and crossbar, as in the standing High crosses.

Consecration crossOne of 12 crosses painted on the walls of a church to mark where it had been anointed during its consecration.

Coptic crossThe original Coptic cross has its origin in the Coptic ankh.

New Coptic CrossThis new Coptic Cross is the cross currently used by the Coptic Catholic Church and the Coptic Orthodox Church of Alexandria. It evolved from the older Coptic Crosses depicted above. A gallery of Coptic Crosses can be found here.

Cross crossletThis heraldic cross is made from four Latin Crosses arranged at right-angles to each other, with their tops pointing north, south, east and west, traditionally thought to represent the message of the cross going out to the four corners of the earth. The Cross crosslet, like the Jerusalem Cross, is a symbol for world evangelism of the Gospels, which gives an alternative name: Mission Cross. Another common interpretation is that it represents the four evangelists: Matthew, Mark, Luke and John.[16]

CrucifixA cross with a representation of Jesus' body hanging from it. It is primarily used in Catholic, Anglican, Lutheran, and Eastern Orthodox churches (where the figure is painted), and it emphasizes Christ's sacrifice— his death by crucifixion.

Crux fourchetteA cross with flared or forked ends (see illustration at Crosses in Heraldry).

Crux gemmataA cross inlaid with gems. Denotes a glorification of the cross, this form was inspired by the cult of the cross that arose after Saint Helena's discovery of the true cross in Jerusalem in 327.

Crux hastaA cross with a long descending arm; a cross-staff.

Crux pattéeA Greek cross with flared ends.

Double cross.A cross with two crossbars. See Patriarchal cross.

Globus crucigerGlobe cross. An orb surmounted by a cross; used in royal regalia.

Grapevine crossAlso known as the cross of Saint Nino of Cappadocia, who christianised Georgia.

Greek crossWith arms of equal length. One of the most common Christian forms, in common use by the 4th century.

Gnostic crossCross used by the early Gnostic sects.

Jerusalem CrossAlso known as the Crusader's Cross. A large cross with a smaller cross in each of its angles. It was used as a symbol of the Crusaders who fought against the Islamic forces.

Latin crossCross with a longer descending arm. Along with the Greek cross, it is the most common form. It represents the cross of Jesus' crucifixion.

Living crossOne of two possibilities: Either a natural cross made of living vines and branches. Or, a man-made cross with vines or plants planted at its base. In the all-natural version, it refers to the legend that Jesus' cross was made from the Tree of life. In the man-made cross with plants planted at the base, it contrasts the "new" Tree of Life (the cross) with the Book of Genesis Tree of Life. In both cases it shows Jesus' death (the cross) as a redemption for original sin (Tree of Life).

Lorraine crossOnce with crossbars of equal length near the top and the bottom, now practically identical with the patriarchal cross

Maltese crossA Greek cross with arms that taper into the center. The outer ends may be forked.

Marian CrossA term invented to refer to Pope John Paul II's combination of a Latin cross and the letter M, representing the Mary present on Calvary.

Occitan crossBased on the counts of Toulouse's traditional coat of arms, it soon became the symbol of Occitania as a whole.

Papal CrossA cross with three bars near the top. The bar are of unequal length, each one shorter than the one below.

Patriarchal crossAlso called an archiepiscopal cross or a crux gemina. A double cross, with the two crossbars near the top. The upper one is shorter, representing the plaque nailed to Jesus' cross. Similar to the Cross of Lorraine, though in the original version of the latter, the bottom arm is lower. The Eastern Orthodox cross adds a slanted bar near the foot.

Pectoral crossA large cross worn in front of the chest (in Latin, pectus) by some clergy.

Peter crossA cross with the crossbeam placed near the foot, that is associated with Saint Peter because of the tradition that he was crucified head down.

Rose CrossA cross with a rose blooming at the center. The central symbol to all groups embracing the Esoteric Christian philosophy of the Rosicrucians.

Russian Orthodox cross(See Suppedaneum cross, below).

Saltire or crux decussataAn X-shaped cross associated with St. Andrew, patron of Scotland, and so a national symbol of that country. The shape is that of the cross on which Saint Andrew is said to have been martyred. Also known as St. Andrew's Cross or Andrew Cross.

Stepped crossA cross resting on a base with three steps, also called a graded or a Calvary cross.

Suppedaneum crossAlso known as Crux Orthodoxa, Byzantine cross, Eastern cross, Russian cross, Slavic or Slavonic cross. A three-barred cross in which the short top bar represents the inscription over Jesus' head, and the lowest (usually slanting) short bar, placed near the foot, represents his footrest (in Latin, suppedaneum). This cross existed very early in Byzantium, and was adopted by the Russian Orthodox Church and especially popularized in the Slavic countries.

Saint Thomas CrossThe ancient cross used by the Syrian Malabar Nasrani community of Saint Thomas Christians in Kerala, India.[17]

Tau crossA T-shaped cross. Also called the Saint Anthony's cross and crux commissa.

Macedonian cross, also known as Veljusa Corss (Вељушки крст).

en.wikipedia.org/wiki/Christian_cross

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.

Saint Matthew, who is depicted in this north ambulatory window, was a publican at Galilee who became a disciple of Jesus and was the first apostle to write a gospel. Insets of wheat, sheep, farms and books in the window depict scenes from his gospel.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include the Great West Window.

The Great West Window, which is also a memorial to soldiers who died during the Great War (1914 - 1918), depicts Christ illuminated as the centre of a golden yellow aura which radiates brilliant coloured light to the figures of Moses and Elijah who flank him. At the bottom each window are the figures of Saint John, Saint Peter and Saint James.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

This old churchyard is known as St. John’s and it is located on Dublin Road. This was my first my second visit but the weather was still very bad and the light was poor.

The colour of the gravestones was different to what I normally see in Irish graveyards [orange/brown rather than grey/white ]

“A picturesque graveyard forming an appealing feature in the streetscape on the road leading out of Kilkenny to the south-east. Having origins in a fourteenth-century leper hospital the grounds are of special significance as the location of a seventeenth-century Catholic chapel, thereby representing an early ecclesiastical site in the locality: furthermore it is believed that fragments survive spanning the fourteenth and seventeenth centuries, thereby emphasising the archaeological importance of the site. The graveyard remains of additional importance for the associations with a number of Kilkenny's foremost dignitaries or personalities while a collection of cut-stone markers displaying expert stone masonry identify the considerable artistic design

Way of Human Rights

The history of the "Way of Human Rights" dates back to 1988, when a twelve-member jury in connection with the expansion of the Germanic National Museum had to decide on the artistic design of the Kartäuser alley. Among the four received competition proposals, the concept of Dani Karavan proved to be the most convincing one whose "Way of Human Rights" with its 27 white columns of eight meters high, two base plates, a pillar oak (Säuleneiche, Pyramideneiche - Quercus robur Fastigiata) and an archway should create a welcoming connection between Grain market and city walls. After several years of planning and construction, Karavan on 24 October 1993 was able to hand over his work in a moving ceremony to the public.

The artist Dani Karavan in the Way of Human Rights

On October 24, 2013, 20 years to the day that Karavan his work had made available to the public, was in a poignant ceremony looked to 20 years of "Way of Human Rights" and the unique development from artwork to model.

With a wink commented the 83-old-artist: "the power of art begins to convince me".

In addition to the solemn ceremony in the Germanic National Museum, there was a series of events as well as an educational accompanying program. The offers ranged from lectures and guided tours over children's theater to hands-on activities.

The message

Its powers of persuasion the sculpture not only obtains from the artistic impression, but above all from its message. Each of the elements in the Way of Human Rights bears in a short form one of the human rights articles in German and another language. The "Way of Human Rights" is both a denouncement of the crimes of the National Socialists and a petrified reminder to people that human rights even today are massively violated in many countries of the world.

The meaning of the artwork for the City of Nuremberg

What a work of art in the best case can cause, the colonnade and its creator have accomplished: the "Way of Human Rights" set a new intellectual, political and social accent in Nuremberg, the former city of Nazi racial laws and the Nazi Party Rallies, but also the scene of the international Military Tribunal as the nucleus of an international criminal jurisdiction.

The walk-in installation beyond its high aesthetic quality has a large symbolic power, which provided an impetus for numerous human rights activities of Nuremberg. So bookmarked the opening of the "Way of Human Rights" also the birth of the Nuremberg International Human Rights Award: In his speech promised the then Lord Mayor Dr. Peter Schönlein, the city of Nuremberg Dani Karavan's installation always will understand as a constant invitation to make an active contribution to the global enforcement of human rights, and he announced the sponsoring of the price. As a jury member of the International Human Rights Award and as a frequent guest in Nuremberg, Dani Karavan since then accompanies the human rights work in the city.

The Way of Human Rights in panorama

www.nuernberg.de/internet/menschenrechte/strasse_der_mens...

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows above the sanctuary.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include the Great West Window.

The Great West Window, which is also a memorial to soldiers who died during the Great War (1914 - 1918), depicts Christ illuminated as the centre of a golden yellow aura which radiates brilliant coloured light to the figures of Moses and Elijah who flank him. At the bottom each window are the figures of Saint John, Saint Peter and Saint James.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

This old churchyard is known as St. John’s and it is located on Dublin Road. This was my first my second visit but the weather was still very bad and the light was poor.

The colour of the gravestones was different to what I normally see in Irish graveyards [orange/brown rather than grey/white ]

“A picturesque graveyard forming an appealing feature in the streetscape on the road leading out of Kilkenny to the south-east. Having origins in a fourteenth-century leper hospital the grounds are of special significance as the location of a seventeenth-century Catholic chapel, thereby representing an early ecclesiastical site in the locality: furthermore it is believed that fragments survive spanning the fourteenth and seventeenth centuries, thereby emphasising the archaeological importance of the site. The graveyard remains of additional importance for the associations with a number of Kilkenny's foremost dignitaries or personalities while a collection of cut-stone markers displaying expert stone masonry identify the considerable artistic design

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the south ambulatory.

Andrew Seton Campbell, who is depicted in this south ambulatory window, was a member of the St Mark's Parish. He died on an RAAF mission on the 10th of March 1943. The sun rises to a new dawn, and eternal hills of high vision. The bird depicted symbolises the passing of Andrew's soul.

Christian Waller depicted the young man in a true likeness, which was a controversial thing to do in the 1940s.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

During my last four visits to Kilkenny I have stayed at the Langton House Hotel which is across the street from this church but until this visit I had failed to gain access to the church or churchyard.

The church is described as follows: A well-composed middle-size church built to designs attributed to William Robertson (1770-1850) conforming to a standard arrangement of nave and tower identified as a hallmark of churches sponsored by the Board of First Fruits (fl. c.1711-1833): a tower incorporating an enriched parapet is once-again employed to locate the site in the landscape on account of the articulation of the skyline. Elegantly-grouped window openings with corresponding blind openings originally glazed leading to the popular moniker of the site as "The Lantern of Ireland" on account of the innumerable piercings contribute significantly to the architectural design quality of the church while cut-limestone dressings exhibiting exceptional stone masonry further enhance the refined quality of the composition. A well-preserved interior contains a range of fittings displaying high quality craftsmanship including carved timber joinery, delicate plasterwork details of artistic design distinction, and so on. Incorporating the fabric of an earlier range on site the church represents the continuation of a long-standing ecclesiastical presence in the grounds while the substantial remains of the late thirteenth-century Saint John's Priory founded by William Marshall The Elder (b. pre-1134), first Earl of Pembroke for the Canons Regular of Saint Augustine identify the importance of the site in the archaeological heritage of Kilkenny.

Sailor's Monument

The Sailor's Monument, a national monument of Norwegian seamen's efforts at sea, from the Viking Age to the 20th century, paid for by funds collected and unveiled on June 7, 1950.

In the maritime city of Bergen, it goes without saying that a memorial dedicated to this important and honorable professional group had to be centralized space in the city.

This demand was met in full when the municipality allowed Dyre Vaas's towering, seven-meter-high sculptural tribute to the sailor's stand to dominate the eastern end of the city's main street, Torgallmenningen.

But many people reacted to the fact that the Sailor Monument here stood a good distance from the right element of seafarers, the sea.

It was only in 1999, almost 50 years after the unveiling, that this objection succeeded to some extent. As part of the extensive renovation of the Torgallmenning completed this year, a large water pool was built around the monument. After this, 12 tough sailors, cast in bronze, were able to reflect in the water. Waves around the monument, on the other hand, only criticize the location and the artistic design that has created.

The road from idea to realization of the Sailor Monument was very long. The idea was erected as early as 1917 by the Bergen Shipowners' Association and the Bergen Skipperforening, which wanted a memorial to war-lost seafarers.

Sofus Madsen undertook to make a draft based on this wish, but it was rejected.

It was concluded that the monument should express a general tribute to the sailor's stand rather than dwell especially on the victims of the war.

In 1938, open competition was announced, and a total of 45 drafts came in. The winner was "The Trial of Happiness", submitted by the telemarketing Dyre Vaa.

Because of the war, it was 12 years before the monument could be unveiled. The honorable assignment was left to the then Minister of Industry Lars Evensen.

The result was a startling, but controversial, sculptural account of Norwegian shipping, expressed in the form of 12 burly sailor statues and high above them eight reliefs on two heights that contribute with further knowledge.

Four centuries of Norwegian maritime history pass revue on the monument's equally numerous sides.

The tenth century is presented as "Vinland's journey", and the statues depict a chieftain with a spear, a skull in leather skins and a berserk with a shield on his back. The reliefs show a Viking ship under sail and a meeting between Vikings and Indians.

The eighteenth century, "Greenland's journey", is symbolized by a scouting fisherman, a full-fledged captain in the process of giving orders and a sailor with a pipe in his mouth.

The reliefs are related to Greenland's rediscovery from Bergen. You see Hans Egede preaching the Christian gospel to the Eskimos and a stack drain with a sea worm bowing under the ship.

On the panel for the nineteenth century, with the inscription "Kornferd", you see a ship with a top hat, a first-time boy and a pilot. The reliefs depict whaling and scenes from a shipyard.

The twentieth century has the inscription “Oljeferd”, and the sculptures depict a deck boy, a helmsman with binoculars and a wrench machinist. The reliefs depict a ship in front of a rising sun and a resurrection scene. Drowned awakened to eternal life by an angel.

As models, Dyre Vaa did not use seafarers, but people from his community. Several Telemark farmers from that time must have been easily recognizable. The artist was working on the monument throughout the war. In 1944, no less than 25 plaster statues lined up in his studio in Rauland. The number was subsequently more than halved. A very rich memorial must be said to be the Seamen's Monument, a work of art that alone is an entire art exhibition.

www.bergenbyarkiv.no/bergenbyleksikon/arkiv/14327928

Onion Lemon and Lentil photography, food presentation

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include the Great West Window.

The Great West Window, which is also a memorial to soldiers who died during the Great War (1914 - 1918), depicts Christ illuminated as the centre of a golden yellow aura which radiates brilliant coloured light to the figures of Moses and Elijah who flank him. At the bottom each window are the figures of Saint John, Saint Peter and Saint James.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

Ballroom tract

The Large Festival Hall during a concert of the Vienna Hofburg Orchestra (another picture you can see by clicking on the link at the end of page!)

The ballroom wing was built by Ludwig Baumann in the years 1910-23. It connects the New Castle with the Ceremonial hall tract and has the main side towards the Heroes' Square. It was originally planned as part of by Carl Hasenauer planned 1866 and by Gottfried Semper 1869 generously remodeled "Imperial Forum".

The Grand Ballroom is with approximately 1,000 m² the largest hall in the whole Hofburg. Although it was designed as a throne hall, it was never used as such: the interior construction ended in 1923, the artistic design remained incomplete. Three ceiling paintings by Alois Hans Schramm glorify the Habsburg rule. As motto served the slogan of Emperor Franz Joseph Viribus Unitis, with joined forces. In the lying below lunettes and octagon panels Eduard Veith and Viktor Stauffer have immortalized personalities of the Austrian history. In the ceiling paintings can be seen Maximilian I, Charles V, Ferdinand I, Rudolf II and Ferdinand II of Tyrol, in the side panels Leopold I, Charles VI, Prinz Eugen and the Polish king Jan III Sobieski.

Since 1958, the Festival Hall tract is used as a convention center of the Hofburg Congress Center & Redoutensäle Vienna. The Euro Vision Song Contest 1967 was held here. Since 1992, the OSCE keeps her an office for the event organization. 2005 the so-called "Kesselhaushof" was covered and converted into a conference hall. In addition to numerous other balls here since 1968 takes also place annually the controversial because of repeated participation of right-wing politicians Wiener corporation ball.

Festsaaltrakt

Der Große Festsaal während eines Konzerts des Wiener Hofburg Orchesters

Der Festsaaltrakt wurde von Ludwig Baumann in den Jahren 1910-23 errichtet. Er verbindet die Neue Burg mit dem Zeremoniensaaltrakt und hat die Hauptseite zum Heldenplatz. Es wurde ursprünglich als Teil des von Carl Hasenauer 1866 geplanten und von Gottfried Semper 1869 großzügig umgestalteten "Kaiserforums" geplant.

Der Große Festsaal ist mit rund 1.000 m² der größte Saal in der gesamten Hofburg. Er wurde zwar als Thronsaal konzipiert, aber nie als solcher verwendet: der Innenausbau endete 1923, die künstlerische Gestaltung blieb unvollständig. Drei Deckengemälde von Alois Hans Schramm verherrlichen die Herrschaft der Habsburger. Als Devise diente der Wahlspruch Kaiser Franz Josephs Viribus Unitis, mit vereinten Kräften. In den unterhalb liegenden Lunetten und Oktogonfeldern haben Eduard Veith und Viktor Stauffer Persönlichkeiten aus der österreichischen Geschichte verewigt. In den Deckengemälden erkennt man Maximilian I., Karl V., Ferdinand I., Rudolf II. und Ferdinand II. von Tirol, in den Seitenfeldern Leopold I., Karl VI., Prinz Eugen und den Polenkönig Jan III. Sobieski.

Seit 1958 wird der Festsaaltrakt als Kongresszentrum von der Hofburg Kongresszentrum & Redoutensäle Wien genutzt. Der Eurovision Song Contest 1967 wurde hier abgehalten. Seit 1992 unterhält hier die OSCE ein Büro für die Veranstaltungsorganisation. 2005 wurde der sogenannte "Kesselhaushof" überdacht und in einen Konferenzsaal umgewandelt. Neben zahlreichen anderen Bällen findet hier seit 1968 jährlich auch der wegen der wiederholten Teilnahme rechtsextremer Politiker umstrittene Wiener Korporationsball statt.

de.wikipedia.org/wiki/Hofburg#Festsaaltrakt

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.

Saint John, who is depicted in this north ambulatory window, was the disciple whom Jesus loved and who wrote the Revelation on the Island of Patmos. He died a natural death whilst on the island in 96AD. He laboured for the spread of the gospel in Jerusalem, Samaria and Turkey.

Doctor David Livingstone, who is depicted in this north ambulatory window, was born in 1813. He was a Scottish missionary who worked for sixteen years in Africa as a representative of the London Missionary Society. He crossed the dark continent and is famous in history records for his meeting with Mr. Stanley in the Zaire swamps.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

First Visit 9 MAY 2016

While wandering around the city of Kilkenny I managed to get locked into an area that I was exploring and it took me a long to find a way out but then I came across this old graveyard. It is known as St. John’s and it is located on Dublin Road. This was my first visit but as the weather was very bad I decide that it might to best to revisit the next morning.

“A picturesque graveyard forming an appealing feature in the streetscape on the road leading out of Kilkenny to the south-east. Having origins in a fourteenth-century leper hospital the grounds are of special significance as the location of a seventeenth-century Catholic chapel, thereby representing an early ecclesiastical site in the locality: furthermore it is believed that fragments survive spanning the fourteenth and seventeenth centuries, thereby emphasising the archaeological importance of the site. The graveyard remains of additional importance for the associations with a number of Kilkenny's foremost dignitaries or personalities while a collection of cut-stone markers displaying expert stone masonry identify the considerable artistic design value of the site.”

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows along the north ambulatory.

Florence Nightingale, who is depicted in this north ambulatory window, was a highly educated woman, who is famous for improving sanitary conditions in military hospitals in the Crimea. She is commonly referred to as the "Lady with the Lamp" and she is most commonly associated with the Red Cross.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

Onion Lemon and Lentil photography, food presentation