Sponsored images from 
View allAll Photos Tagged c1919
St Peter, Hope, Derbyshire.
North Aisle Window, c1919.
By Frederick Charles Eden (1864-1944).
Nativity - detail.
The window carries no visible dedication.
Frederick Charles Eden was an architect and a pupil of William Butterfield and of George Frederick Bodley. He often designed the glass and other fittings for his own buildings and in 1910 began making his own windows
Memorial. c1919. By Storr-Barber of Leominster. Sandstone.
Figure of Infantryman at attention, on stepped plinth inscribed with the names of Stokesay men who fought in World
Wars I and II. Removed from original site in Craven Arms.
The National Museum: The City (Miasto) by Leon Chwistek (c1919). A modernist painting depicting an industrialized urban landscape, characterized by geometric forms, factory chimneys, and geometricized buildings.
St Peter, Hope, Derbyshire.
North Aisle Window, c1919.
By Frederick Charles Eden (1864-1944).
Nativity - detail.
The window carries no visible dedication.
Frederick Charles Eden was an architect and a pupil of William Butterfield and of George Frederick Bodley. He often designed the glass and other fittings for his own buildings and in 1910 began making his own windows
St Peter, Hope, Derbyshire.
North Aisle Window, c1919.
By Frederick Charles Eden (1864-1944).
Nativity - detail.
The window carries no visible dedication.
Frederick Charles Eden was an architect and a pupil of William Butterfield and of George Frederick Bodley. He often designed the glass and other fittings for his own buildings and in 1910 began making his own windows
Please see my blog: Champagnewishesandrvdreams.com - A Whirlwind Visit of Washington DC! Sept 18, 2015
St Peter, Hope, Derbyshire.
North Aisle Window, c1919.
By Frederick Charles Eden (1864-1944).
Nativity - detail.
The window carries no visible dedication.
Frederick Charles Eden was an architect and a pupil of William Butterfield and of George Frederick Bodley. He often designed the glass and other fittings for his own buildings and in 1910 began making his own windows
St Peter, Hope, Derbyshire.
North Aisle Window, c1919.
By Frederick Charles Eden (1864-1944).
Nativity - detail.
The window carries no visible dedication.
Frederick Charles Eden was an architect and a pupil of William Butterfield and of George Frederick Bodley. He often designed the glass and other fittings for his own buildings and in 1910 began making his own windows
St Peter, Hope, Derbyshire.
North Aisle Window, c1919.
By Frederick Charles Eden (1864-1944).
Nativity - detail.
The window carries no visible dedication.
Frederick Charles Eden was an architect and a pupil of William Butterfield and of George Frederick Bodley. He often designed the glass and other fittings for his own buildings and in 1910 began making his own windows
St Peter, Hope, Derbyshire.
North Aisle Window, c1919.
By Frederick Charles Eden (1864-1944).
Nativity - detail.
The window carries no visible dedication.
Frederick Charles Eden was an architect and a pupil of William Butterfield and of George Frederick Bodley. He often designed the glass and other fittings for his own buildings and in 1910 began making his own windows
St Peter, Hope, Derbyshire.
North Aisle Window, c1919.
By Frederick Charles Eden (1864-1944).
Nativity - detail.
The window carries no visible dedication.
Frederick Charles Eden was an architect and a pupil of William Butterfield and of George Frederick Bodley. He often designed the glass and other fittings for his own buildings and in 1910 began making his own windows
St Peter, Hope, Derbyshire.
North Aisle Window, c1919.
By Frederick Charles Eden (1864-1944).
Nativity - detail.
The window carries no visible dedication.
Frederick Charles Eden was an architect and a pupil of William Butterfield and of George Frederick Bodley. He often designed the glass and other fittings for his own buildings and in 1910 began making his own windows
St Peter, Hope, Derbyshire.
North Aisle Window, c1919.
By Frederick Charles Eden (1864-1944).
Nativity - detail.
The window carries no visible dedication.
Frederick Charles Eden was an architect and a pupil of William Butterfield and of George Frederick Bodley. He often designed the glass and other fittings for his own buildings and in 1910 began making his own windows
St Peter, Hope, Derbyshire.
North Aisle Window, c1919.
By Frederick Charles Eden (1864-1944).
Nativity - detail.
The window carries no visible dedication.
Frederick Charles Eden was an architect and a pupil of William Butterfield and of George Frederick Bodley. He often designed the glass and other fittings for his own buildings and in 1910 began making his own windows
St Peter, Hope, Derbyshire.
North Aisle Window, c1919.
By Frederick Charles Eden (1864-1944).
Nativity - detail.
The window carries no visible dedication.
Frederick Charles Eden was an architect and a pupil of William Butterfield and of George Frederick Bodley. He often designed the glass and other fittings for his own buildings and in 1910 began making his own windows
The church of Clippesby St Peter is one of 124 existing round-tower churches in Norfolk. St. Peter's is adjacent to Clippesby Hall once the residence of the artist Peregrine Feeney. The Hall and presumably the Church were visited regularly by the noted Pre-Raphaelite John William Waterhouse. In another artistic link the church was the subject of a painting by John Sell Cotman. Another distinction is a fine Arts and Crafts style stained glass window "Suffer little children", the first professional commission by M. E. Aldrich Rope, c1919.
The church of St. Peter's at Clippesby is thought to date from Saxon times. Curiously however there is no mention of it in the Domesday Book. The round tower is certainly of Saxon construction as is a small (now sealed) window, whereas the North doorway with its characteristic zig-zag moulding is Norman. The tower was augmented with an octagonal bell tower in the early 1900s.
SACRED PERFORMANCE
Across the world, people bring spiritual thoughts and teachings to life through dance, costume, music and song. Sacred performances are meant to transform both the participant and the observer. Through performance, spiritual beliefs are made present and real.
In Tibetan Buddhism, ritual dances known as Cham are enacted by monks to bring blessings on the whole community. Long before the dance begins, the monks spend days meditating in the monastery, preparing their bodies and minds to perform ancient Buddhist stories and teachings.
By putting on the robes, retracing the steps, and chanting the words passed from generation to generation, the performers of sacred rituals create a space for the expression of faith.
•Left: Black Hat dancer
Mask with silk robes, collected in Darjeeing, c1919
Black Hat Cham
Tibetan Buddhism transmits different stories and teachings through ritual dances known as Cham.
Villagers gather from miles around to experience the blessings of a Cham performance.
The Black Hat Cham re-enacts the ancient story of a Buddhist monk who, disguised in a magician's black hat and robe, conquered an oppressive king through the power of dance. A tale of good conquering evil, the dance creates positive energy. balancing negative forces.
•Centre: Costume of Yamantaka, a Buddhist delty Mask with sit robes, colected in Darjeeing, c1919
Cham - a monk's perspective
‘A Cham dancer should be endowed with the view or understanding of the deity they are performing.
People in Tibet would come from a long way to attend this. They would come, out of faith, with a real feeling that the Cham has a power to bless them. The most important thing about the Cham is that people who are dancing have the correct view and meditation - the people who are watching are endowed with faith. If you have these two, then it's genuine Cham.’
—Drupon Rinpoche, Tibetan Buddhist monk, 2010
•Right: Skeleton costume
Mask with cotton clothing, collected in Darjeeling,c1919
Dancing skeletons
Death, decaying bodies - the human skeleton can seem ghastly and gruesome. However, Buddhism teaches that all beings die many times over, to be reborn to lives full of new possibilities. In Buddhist dance, the skeleton can express positive change and spiritual progress. Skeleton dances are a popular part of public Cham performances. These energetic dances are commonly performed by young monks - this skeleton costume was made to fit a young boy.