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Read that this month's 2009/365 theme was THROUGH THE WINDOWS AND DOORS OF OUR LIVES so just pointed camera at the window to show what I see when I sit at my desk!
For Window Wednesdays and a MOOC class project.
Here we have two glass windows with reflections and a window that has been bricked up.
The whole of the scene has been camouflaged in a blanket of shadows from a couple of trees near the building.
Captured with iPhone and Hipstamatic's Oggl App, using the Lucifer VI lens and Rock BW-11 Film combination.
The contrast of light and dark were very extreme and this combo really caught that scene well.
Not just any oriel window but the oriel window, in the south gallery at Lacock Abbey.
One of the major reasons for dragging the children to this place was an excuse for to pootle around the Fox Talbot museum and see where Henry Fox Talbot took what is considered the first modern photograph.
Fox-Talbot was an extraordinary fella; gentleman, classical scholar, politician, social activist, inventor, scientist, mathematician. A true Victorian polymath the likes of which is practically impossible in modern times.
The original taken in August 1835 was in fact a negative and only the size of a large stamp. The tiny 'mousetrap' camera (on the table in the foreground) required a 30 minute exposure, balanced on the mantelpiece opposite this window. The original negative is still in existence but has largely faded as it was fixed in an unstable way but copies were made.
Although he pondered making prints, this wasn't possible for another 20 years. The word 'negative' was similarly invented much later.
I found all this absolutely fascinating and drank it all in. Naturally, the kids were not in the slightest interested but to their credit, vaguely feigned interest to keep their dad happy.
Window at the Sacred Heart Roman Catholic church in Bilton, Warwickshire.
This composite panel was made up of 'leftover' pieces of one of the former side windows of the nave, displaced when the church was extended in 1990. Other parts have been incorporated into windows two similar windows nearby.
Originally built in 1958 on a traditional plan with an oblong nave and chancel in one chamber, the church was dramatically re-organised and extended in the early 1990s under the guidance of Fr Paul Chamberlain, wherein the axis of the church was re-orientated by 90 degrees with a centralised granite block altar in what was the heart of the old nave. The 'south' nave wall was removed to allow an extended aisle and ambulatory on this side. The former main entrance narthex was blocked up to create what is now the Blessed Sacrament chapel.
One of the most dramatic innovations in the re-ordered church is the full immersion fount, a cruciform marble pool set into the floor before the altar, evoking the earliest method of Christian Baptism by immersion in the River Jordan.
The two main stained glass windows on either side of the old nave were removed and re-sited in truncated form in the new extension, and in the place of the northern one a large crucifix (painted by Fr Chamberlain) has been set up as a focus behind the new altar. The six high windows on this wall are the latest addition to the church and are my own work from 1999.
Window depicting the Annunciation by York-based artist Harry Stammers, 1957.
St Olave's church in Marygate, York stands adjacent to the ancient ruins of St Mary's Abbey, just within the gate of the former monastic precinct.
The church is one of York's less visited city churches but has an impressive interior that culminates in a display of medieval glass in its east window (the chancel itself is a Victorian rebuilding). At the west end the font is given a touch of drama by the tapering modern cover by George Pace.
The church usually seems to be open and welcoming to visitors.
Memorial Window dedicated to Catharine Bird who died in 1940 and Elsie Olive Hubbard who died in 1946
This is the shop front, as it were, for the local flatbread bakery - if you read the signs you'll know which window is for you :-) The bread is baked on site at particular times of the day and people line up at these counters to buy it straight from the oven - delicious!
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Ascension of Christ by Theodora Salusbury in the north aisle at Narborough. This stunning window was created in 1929 and exhibits the artist's penchant for bold design and exquisitely streaky glass, where several shades are captured in a single piece, showing the care which she lavished on selecting the best materials. The only thing missing is her usual signature emblem, a peacock, though the inscription at the base appears to have been renewed since, suggested it may have been lost when this occurred.
All Saints church in Narborough is an impressive building on a fairly large scale. The tower dates back to the 14th century but the rest of the building was heavily restored and partially rebuilt in Victorian times.
The interior is also impressively grand but largely the creation of 19th century restoration and 'improvement', and the furnishings are nearly all from this time (except for the medieval font). The full complement of stained glass windows is also very much Victorian, except for the most notable piece, a beautiful Arts & Crafts Ascension in the north aisle by noted local glass artist Theodora Salusbury.
The church is normally locked outside of services.
Shopping at BJ's store and saw how sunset appeared on window and took several shots and combined them into this HDR image.
St Martin's Church, Chur. Augusto Giacometti created the stained glass windows in 1919.
Chiesa di San Martino, Chur. Augusto Giacometti creò le vetrate nel 1919.
St. Martin's Kirche, Chur. Augusto Giacometti schuf die Glasfenster im Jahre 1919.
Stained Glass Windows by Augusto Giacometti
The glass paintings on the south side of the main nave are by Augusto Giacometti. The selection of the theme - the nativity story - can not be found in the documents; It must have been defined before. The paintings were executed by the glass painter Oskar Berbig from Zurich and were completed on 14 April 1914. They were installed from 12 to 17 May and on 25 May the inauguration of the renovated church took place. In the center is the Christ Child in the stable, revered by Mary and Joseph and two angels. On the right, the three kings open themselves up to worship, on the left the shepherds in the fields.
The paintings by Augusto Giacometti in the Churer Martinskirche are the first of his work and he founded his reputation as some one who revived glass painting.
Glasgemälde von Augusto Giacometti
Die Glasgemälde an der Südseite des Hauptschiffs stammen von Augusto Giacometti. Über die Wahl des Themas – die Weihnachtsgeschichte – findet sich in den Unterlagen keinerlei Hinweise; es muss also schon vorher festgelegt worden sein. Die Gemälde wurden von der Glasmalerei Oskar Berbig aus Zürich ausgeführt und waren am 14. April 1914 vollendet. Vom 12. bis 17. Mai wurden sie eingebaut, am 25. Mai fand die Einweihungsfeier der renovierten Kirche statt. Abgebildet ist in der Mitte das Christkind im Stall, verehrt von Maria und Joseph und zwei Engeln. Rechts machen sich die drei Könige zur Anbetung auf, links die Hirten auf dem Feld.
Die Gemälde von Augusto Giacometti in der Churer Martinskirche sind die ersten seines Schaffens und begründeten seinen Ruf als Erneuerer der Glasmalerei.
Finestre di Augusto Giacometti
I dipinti di vetro sul lato sud della navata centrale sono di Augusto Giacometti. La scelta del tema - la storia della Natività - non può essere trovato nei documenti; Deve essere stato definito in precedenza. I dipinti furono eseguiti dal pittore di vetro Oskar Berbig da Zurigo e sono stati completati il 14 aprile 1914. Sono stati installati dal 12 al 17 maggio e il 25 maggio l'inaugurazione della chiesa rinnovata ha avuto luogo. Nel centro è il Bambino Gesù nella stalla, venerato da Maria e Giuseppe e due angeli. Sulla destra, i tre re aprirsi al culto, sulla sinistra i pastori nei campi.
I dipinti di Augusto Giacometti nel Martin Chiesa di Coira sono la prime del suo lavoro e ha fondato la sua reputazione come un rinnovatore della pittura su vetro.
Window in the north choir aisle by William Wailes, c1856.
Peterborough Cathedral is one of England's finest buildings, an almost complete Romanesque church on an impressive scale sitting behind one of the most unique and eccentric Gothic facades found anywhere in medieval Europe. The church we see today is little altered since its completion in the 13th century aside from inevitable 19th century restorations and the serious depradations of Civil War damage in the mid 17th century.
The bulk of the church is 12th century Norman, retaining even its apse (a rarity in England) and even the original flat wooden ceilings of nave and transept. The nave ceiling retains its early medieval painted decoration with an assortment of figures set within lozenge shaped panels (mostly overpainted in the 18th and 19th centuries but the overall effect is preserved). The 13th century west facade is the most dramatic and memorable feature of the building, with three vast Gothic arches forming a giant porch in front of the building, a unique design, flanked by small spires and intended to be surmounted by two pinnacled towers rising just behind the facade, though only that on the north side was finished (and originally surmounted by a wooden spire which was removed c1800). The central tower is a surprisingly squat structure of 14th century date (with a striking vaulted ceiling within) and along with its counterpart at the west end makes surprisingly little presence on the city's skyline for such an enormous building. The final addition to the church prior to the Reformation is the ambulatory around the apse, a superb example of late medieval perpendicular with a stunning fan-vaulted ceiling.
Given the vast scale of the building it is perhaps surprising to learn that it has only had cathedral status since 1541, prior to that it had been simply Peterborough Abbey, but it was one of the most well endowed monastic houses in the country, as witnessed by the architecture. It was once the burial place of two queens, Katherine of Aragon lies on the north side of the choir and Mary Queen of Scots was originally interred here before her son James I had her body moved to the more prestigious surroundings of Westminster.
Sadly the cathedral suffered miserably during the Civil War when Parliamentarian troops ransacked the church and former monastic buildings in an orgy of destruction, much of which was overseen by Cromwell himself in person (which helps explain its thoroughness). Tombs and monuments were brutally defaced, and nearly all the original furnishings and woodwork were destroyed, along with every bit of stained glass in all the vast windows (only the merest fragments remain today in the high windows of the apse). Worse still, the delightful cloisters on the south side, once famed for the beauty of their painted windows, were demolished leaving only their outer walls and some tantalising reminders of their former richness. The magnificent 13th century Lady Chapel attached to the north transept (an unusual arrangement, similar to that at Ely) was another major casualty, demolished immediately after the war so that its materials could be sold in order to raise funds for the restoration of the cathedral following the Cromwellian rampage.
In the following centuries much was done to repair the building and bring it back into order. There were major restorations during the 19th century, which included the dismantling and rebuilding of the central tower (following the same design and reusing original material) owing to impending structural failure in the crossing piers.
What we see today is thus a marvel of architecture, a church of great beauty, but a somewhat hollow one owing to the misfortunes of history. One therefore doesn't find at Peterborough the same clutter of the centuries that other cathedrals often possess (in terms of tombs and furnishings) and there are few windows of real note, but for the grandeur of its architecture it is one of the very finest churches we have.
For more history see the link below:-