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Window Shades. Getty Center, Los Angeles, California. March 28, 2015. © Copyright 2015 G Dan Mitchell - all rights reserved.
A walkway with window shades, Getty Center
I visit the Getty Center (perhaps once or so each year) as much to photograph the architecture as to see the art. The overall effect of the space, on the large and small levels, is stunning. It sits on top of a ridge with long views over the Los Angeles basin and out to see near Santa Monica. The Center sprawls along the top of the ridge, with many levels to the buildings and with an unusual garden below. The details are also fascinating — among other things, rectangular forms are reflected in almost all aspects of the design, yet there are things that are set off at odd angles from this regularity.
I made this photograph in a small interior area, more or less a sort of hallway and stairway with a walkway crossing in front of a wall of windows that are covered by translucent shades. As I looked at it I thought of it as a sort of cubist subject, and I found the colors (the various tans and the strips of muted blue sky beyond) and varying decrees of opacity/transparency very interesting.
G Dan Mitchell is a California photographer and visual opportunist whose subjects include the Pacific coast, redwood forests, central California oak/grasslands, the Sierra Nevada, California deserts, urban landscapes, night photography, and more.
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Text, photographs, and other media are © Copyright G Dan Mitchell (or others when indicated) and are not in the public domain and may not be used on websites, blogs, or in other media without advance permission from G Dan Mitchell.
Papa Luna's window- when he moved to Peñiscola he wanted a window in his room that faced towards Rome. He was called the 'Anti'Pope'- although there is some controversy as to who the REAL anti pope was...
My grandmother on Thanksgiving when my dad was little. Check out the vertical scrunchies on the windows. Was that really a thing in 1960? And I have never before seen my grandmother wear flats. She always wore heels. She had two closets full of heels.
St Giles, Risby, Suffolk
Risby is a pretty village not far from the A14 and the sprawl of Bury St Edmunds, but to stand on the village green you would not know that either were there. The church is set along the road to Bury in a tight sleeve of a churchyard. It is a long church, the nave and chancel mostly of the late 13th and early 14th Century, so at the very height of the English Decorated period. By way of contrast, the tower is a rugged Norman affair, the solid arcading at the top quite different from that of elegant Little Saxham a couple of miles across the A14.
Back at the start of the 21st Century, St Giles was one of the very last Suffolk churches I ticked off on my first journey around the county, and I had not been back since. Since I have revisited just about every Suffolk church in that time, it means that I have been away from Risby church for longer than just about any other in the county. Back in 2003 it had been the very first church I ever photographed with a digital camera, a strange thought now.
You step into a church which is full of interest, although it seems to be little-known. Risby church has a little of everything. Fortunately, this does not seem to have been a wealthy or populous place in the 19th Century, so the Victorians saw no need to add aisles. Because of their restraint, Risby church has a surviving expanse of wall paintings along the north side of the narrow nave. A couple of features stand out, including Mary Magdalene kneeling to anoint the feet of Christ, and a sombre cleric who is probably St Thomas of Canterbury. An axe head pokes from what might have been a martyrdom scene. A sequence of the life of Christ has faded within living memory.
On the south side of the nave, one window contains four panels of continental glass. The two lower pieces depict Christ healing a lame man and a blind man. The roundels above, although faded, are more interesting. One shows St Hubert's vision of the crucifixion between the antlers of the stag he is hunting, and the other appears to show St Paul debating with Festus before Herod Agrippa.
The medieval glass at Risby survived into the 17th Century, because we have the fascinating detail of a receipt given in May 1644 by the iconoclast John Crow to the Risby churchwardens for the forty shillings fine they had paid for not destroying it as required by the parliamentary ordinance. It seems to have been smashed soon after, but in the 19th Century the wife of the rector, Samuel Alderson, recovered fragments from the churchyard, and these were used in 1850 to create composite figures in the east and south chancel windows. The plaque beside them refers to their restoration in the 1920s. It's not the kind of thing we would do nowadays, but it is very effective. The male figure in the south window has an arrow, so was probably intended as St Edmund, although he is flanked by two As and has part of a banner of St Andrew. The female figure is flanked by two Ms, typical of a Blessed Virgin scene, but she has part of a wheel and was probably intended to look like St Catherine. Both figures have 20th Century heads. In the east window, one figure is made to look like a king and the other a bishop with a 14th Century head. The figure of St John is almost wholly 19th Century apart from the hands, but the angels either side are made up of 15th Century fragments. Perhaps best of all is the Pelican in her Piety towards the bottom, reflecting back the one on the font. She is flanked by a censing angel and an agnus dei.
As with many fonts in the middle of the 16th Century, Risby's was plastered over to hide idolatrous imagery. When the plaster was removed in the 1890s, a beautiful Annunciation scene was revealed, as well as a striking Pelican in her Piety. East of the font is an exquisitely lovely rood screen, tall and narrow, with just three lights each side of the entrance. It is flanked by image niches backed with gold gessowork.
The tower arch is lower than Little Saxham's, but as there another opening sits above it, and was probably the original entrance to the tower, with a ladder which could be drawn up. The view westwards is memorable, the creamy light from the mostly clear windows falling softly over fifteenth century benches, one with a fragment of a 15th Century lady kneeling on its bench end, perhaps a survival of another annunciation scene.
The Victorian bench ends further east are tall and proud, carved in rich profusions of fruit, flowers and foliage, each one different. Mortlock tells us that they were the work of the rector, Samuel Alderson, and it was his successor, Thomas Abraham who oversaw the thankfully restrained restoration in the 1880s. Having paid for this, Abraham not unreasonably had the chancel glass dedicated to earlier members of his family. The best is probably by Clayton & Bell, depicting Miriam and St Cecilia and dedicated to Ellen Abraham who died at Florence in 1880. The Baptism of Christ is a typical work of Kempe & Co. The third, a curious and interesting little panel set in the low side window and depicting the agony in the Garden of Gethsemane, seems older, but is possibly by Kempe & Co as well. The firm came back in the 1890s to produce another typical piece depicting St Peter and St Paul for the Wastell family in the nave.
My window is my place of joy. When I become upset, I stand before it & slowly my mind becomes well.
Everyday I found newer things over here and I can see all of my dreams,success,future & possibilties through the window..........
The millennium window, St Mary's parish church, Carlton, Beds. It is the work of John Lawson of Goddard & Gibbs Studio. Giant tongue of flame, representing the Holy Spirit, come down on the community, past and present. In each light is a symbol - the cross for faith, the anchor for hope and the heart for charity.
21/04/17. Nara.
Japanese bus collection: www.flickr.com/photos/hhhumber/collections/72157683227446...
Bus collection: www.flickr.com/photos/hhhumber/collections/72157603287230...
Baptistry window by Derek Hunt, 1994, currently the only stained glass in the modern part of the church..
St James the Greater church at Birstall is one of the most unusual parish churches I've seen, a remarkable hybrid of ancient and modern that fuses what is in effect two completely separate churches into a single entity. The old medieval church had undergone much rebuilding already during the 19th century but was never a large building, a modest west tower, nave and chancel with an aisle on the north side only. From this north wall grew the new church built in 1962, a dramatic extension of the diminutive old building and more than tripling the former seating capacity. The internal spaces are quite separate and distinct, and yet physically joined at the same time.
On approaching the church from the road the old building appears unchanged, the new extension hidden behind it. The surprise is gradually revealed as one enters the churchyard to see the diagonally angled 'sawtooth' windows beyond the old tower and the main entrance is now via the new building.
Inside the new church is somewhat austere but well proportioned with a sweeping wooden ceiling finish above and the altar against the windowless north wall. A splash of colour is added by a single modern window on the west side amongst otherwise plain glass (it would be nice if others one day complemented it). At the far end the full length of the wall is open with a glazed screen which leads into the old church.
The old church is a darker, more intimate space and entering it from its successor feels like stepping back in time. This building is still the old village church aside from its missing north wall, and makes an interesting contrast with the appendage it has grown. It was much restored in the Victorian period so has little ancient patina but does contain some remarkable Arts & Crafts stained glass windows.
www.birstall.org/about-us/church-history/
I found this a most rewarding and memorable church (both halves collectively) being such a rare fusion of contrasting styles, but also for its finest windows from across the 20th century.. This church is alas normally kept locked outside of services (much to my chagrin on a previous visit) so entry will require making contact or timing accordingly (we visited on Heritage weekend).
St Ann, Manchester, 1709-12.
Memorial Window to the Rt Rev James Fraser (1818-1885), Bishop of Manchester 1870-85.
Designed by Frederic James Shields (1833-1911).
Made by Heaton Butler & Bayne, 1889.
Detail.
Clement Heaton (1824-1882).
James Butler (1830-1913).
Robert Turnill Bayne (1837-1915).
Clement Heaton, the son of a Methodist minister in Bradford on Avon, Wiltshire, was in 1851 a glass painter for William Holland of Warwick. He was in London by 1853 and briefly in business alone before going into partnership with James Butler in 1855. Around 1860 the two briefly shared premises with Clayton and Bell, an association of lasting importance, as the third member of the firm, Robert Turnill Bayne, who was also from Warwick and became chief designer in 1862, was an employee of theirs. Heaton pioneered the use of softer colours, but Bayne’s advent brought the firm to widespread attention. Most of their earlier glass was gothic in style, but the firm adapted to later influences, notably that of Dante Gabriel Rossetti. The firm was used widely by Sir Arthur Blomfield, but in later years less of its output was glass for churches. Heaton’s son Clement John joined for a short time, but fell out with his partners. The firm continued until 1953 under descendants of other partners, after which most of its archives were destroyed for lack of interest.
Amongst other important commissions, Frederic Shields designed the windows in the Chancel of St Ann's Church, Manchester. He drew out a complete scheme for the church's stained glass based upon the theme of a Shepherd. The east windows behind the altar and the north and south aisles all have this theme, and were the work of Heaton, Butler & Bayne.
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Front stained glass window above entrance doors, Our Lady of Good Counsel Catholic Church in Detroit, MI. The window portrays Mary holding her Infant Son with her parents, St Anne and St. Joachim, at her side.