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The original east window of 1878 was relocated following the extension of 1896 to the west end where it remains today. This three-light window depicts the Transfiguration of Christ, portrayed in mid air flanked by Elijah and Moses with three Apostles reclining below. It is the work of Birmingham stained glass maker Swaine Bourne (formerly of Chance Bros) and dates from 1878.
Dorridge's church of St Philip is a bit of an oddity, something of a surprise if one is expecting a conventional parish church, hidden away in Manor Road marked by neither tower or spire. My first ever glimpse of it was the view from the nearby railway line, passing on a London-bound train and seeing the impressive east gable end standing proudly above the trees nearby. Usually the chancel is the smaller part of a church, a more intimate sanctuary entered from a more spacious nave, but here the arrangement is turned on its head, a humble brick nave followed by a grand stone-built chancel of greater height, part of an aborted late 19th century plan for a more ambitious building that was never realised beyond this point. Ironically thoughts have turned in recent years to further ambitions, and there is a proposal to replace the existing building entirely with a new church & community centre, though as far as I know the plan is aspirational with no firm timetable, and could yet prove too costly a venture to be realised.
The church only dates back as far as 1878 when the present brick nave was built, a mission church that could easily pass for a school-room or village hall were it not for the traceried window facing the road. Entry is by a small timber porch on the south side crowned by a tiny bellcote. Beyond is the awkward join of the newer chancel (which overshadows the earlier part) built in 1896-7 by J.A.Chatwin as the start of his bold new church which never progressed beyond this point. It is a more impressive sight from the south and east from where it is easier to visualise how the completed building might have looked, doubtless like many other late Victorian suburban churches had the new nave and tower been supplied. As it stands it might look distinctly peculiar, but is all the more unique as a result.
Inside the contrasting dimensions of nave and chancel are equally apparent like two different buildings spliced together, the former appearing like a long narrow antechamber to the latter space which opens out into a side chapel and vestries beyond. The nave is flooded with light from the plain, almost domestic-looking windows beneath a simple timber roof, itself lightened with ochre-coloured paint. The sanctuary by contrast is marked by much more subdued lighting, the main illumination coming from the large five-light east window which seems a little overpowering for the more down-to-earth nave.
The church is usually kept locked outside of services, and it remains to be see whether it will survive in its present form or if it is demolished and replaced by a new building.
For more see the church's entry on the Warwickshire Churches site below:-
This is the view from inside the cabin. A flash was used to light up the inside wall so that the exposure of the dark inside and the bright outside evened out.
Took a shot of this great window in an 200 year old country-house. The first thing I thought, that Tim Burton must have grown up in a room with such an window ;-)
Just love it! Although I could be scary for the kid living in this room...
Press [L] or click on the image to view the image in full screen.
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Vienna, 2014.
Window shopping - the most affordable type of shopping ;-)
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the textures of old weathered wood clapboards and shutters on an old abandoned building
worth viewing LARGE
Shot on slightly expired Fujicolor Superia X-TRA ISO400, with a Canon EOS 30 and a Samyang 35mm f1.4
The Sacred Heart Roman Catholic church in Ilkley is a remarkable blend of traditional and modern architecture, with an entrance porch and apse in Victorian Gothic and north and south nave extensions dating from the 1970s with a saw-tooth wall arrangement, inspired by Coventry cathedral.
More remarkable still is the complete glazing scheme of contemporary stained glass, all executed in the dalle de verre ('slab of glass') wherein thick chunks of coloured glass are set in a concrete or resin matrix (as opposed to traditional lead). The technique was popular in the 1960s and 70s but sharply declined since, largely due to many such windows latterly suffering from heat expansion, leakages or structural problems.
The exceptional scheme of dalle de verre windows at Ilkley includes both windows with concrete and windows with resin matrixes; The earliest windows are those in the apse which utilise concrete, being the work of Pierre Fourmaintraux of Whitefriars. The remaining windows in the nave were executed with resin and supplied by John Hardman Studios of Birmingham in the late 1970s.
These dalle de verre windows ably illustrate the richness and potential of large scale uses of the technique. Current research will hopefully find solutions to the problems encountered with the technique and may hopefully one day lead to a resurgence in the medium.
Window display at the General Store at Bodie. Light source is the low wattage carbon filament light bulb and the near full moon on the outside of the building.
Exterior of window before restoration work has commenced. Paint flaking from exteriors, putty and glass damaged, pointing unsound, rotten sill.
All Saints church in the tiny Kent village of Tudeley is not a large or architecturally distinguished building, but has become internationally famous for it's complete set of stained glass windows by renowned 20th century artist Marc Chagall.
The church itself is a humble structure, it was damaged in the Civil War and mostly rebuilt in the 17th century (the box-like brick tower) and the Victorian period. There is little of antiquity within aside from a large c1600 monument (without figures) on the north side of the chancel.
What makes a visit here so unforgettable is the glass: the east window was installed in 1967, donated as a memorial to the drowned Sarah D'Avigdor Goldsmith by her parents; she can be seen as the figure floating at the base whilst her soul ascends a ladder to Heaven, where a crucified Christ awaits. The commissioning of the Belarussian-Jewish artist Marc Chagall was the inspired touch, this piece being amongst the most famous of 20th century windows. It was made in collaboration with Charles Marq at his studio in Reims.
The success and popularity of the finished work was such that it led to the commissioning of further windows from the artist over the next 15 years, ultimately becoming a complete set. However installation of the final side windows in the chancel was delayed until 1985 owing to local opposition to removing the Victorian glass in those windows; a compromise solution was found with the Victorian stained glass remaining in the church in specially made light-boxes mounted on the walls under the west tower.
The interior is now bathed in beautiful coloured light from the largely abstract windows, blue being the dominant colour in the chancel and north aisle with yellow dominating the two large south nave windows. Aside from a single window in Chichester Cathedral these are the only works by Chagall in stained glass in Britain.
The church is a haven of peace and beauty and a must for anyone with an interest in the medium of stained glass. It is lovingly cared for and open to visitors every day.
Basilica of the National Shrine of the Immaculate Conception, The Universal Call to Holiness, Rose Window
The late 19th century east window at Seckington by John Hardman Studios of Birmingham.
All Saints at Seckington is one of Warwickshire's two northernmost churches, and is structurally very similar to it's neighbour at Newton Regis (except that it lacks a clerestorey).
The interior is dominated by the rich Hardman's glass in the large east window and there are some good medieval fragments in the traceries of the nave windows. There is a curious cutting forming the shape of three pointed arches to the left of the chancel arch, no doubt a ghost of the former rood loft and screen, the lowest section of which seems to have survived nearby. On the north side of the chancel is the colourful monument to Richard Burdett (d.1603) and his family, the classic small kneeling figures facing across a desk composition. Below this is a recess containing a carved slab to a medieval priest, but showing only a cross and chalice (why is this listed in some sources as a defaced 14th century lady?!).
The church is normally kept locked without keyholder information, though it does have sporadic open days throughout the year.
For more see the Warwickshire Churches site below:-
warwickshirechurches.weebly.com/seckington---all-saints.html
All Saints, Nettleham, Lincolnshire.
East Window, 1971.
By John Hayward (1929-2007).
John David Hayward (1929-2007) was a stained-glass artist who designed and made nearly 200 windows throughout Britain and abroad. From 1974, he devoted himself to glass, but before that he also designed and made what he called “other things” for church interiors.
He was born in Tooting into a Methodist family and was educated at Tooting Bec Grammar School. Later, at St Martin’s School of Art, he was impressed by Seurat and Piero della Francesca, who used the device of figures in a landscape as a language to express ideas. Another intriguing study was images of the Byzantine mosaics in Ravenna.
Although offered a place at the Royal College of Art, he decided to join Faithcraft, designing church furniture and arranging whole interiors where glass was one important element. He was influenced by the architectural principles of Laurence King and Cachemaille-Day, who were interested in the Liturgical Movement, which was concerned with what churches were for, not what they should look like. In 1961 he became freelance and set up a studio in Bletchingley, close to the headquarters of the Southwark Ordination Course.
There was a great demand for artists in the post-war church-building boom, and his first major commission was a scheme of windows for the ruined Wren church St Mary-le-Bow. It was the beginning of 13 years when he worked on glass and “other things”. After 1974, the demand for new church furniture declined, but churches still wanted stained glass, and he created a stream of windows. He always worked alone.
another window at the Noe Valley Ministry, the location of Deb Lattimore's photo show last month...
I liked the soft green shining in the later-afternoon light...