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(Danish: Dannebrogsvindue) Windows with pulldown behind. Artwork by Hesselholdt & Mejlvang in 2011. Photo from an exhibition at the Museum of Modern Art Aalborg.
One of three windows in the north aisle by Powells, 1917 (these fine windows are particularly badly afflicted by the darkening wash applied to them yeasrs later and would be hugely enhanced if it could be removed).
St Mary's is the parish church of the town of Kidderminster and a grand affair it is too, still mostly an early 16th century building of impressive proportions, its extraordinary length in particular. The tower is a major landmark on the northern edge of the town centre, though sadly the construction of the modern ring-road effectively cuts the church off completely from the rest of the town and it can only be reached via a rather uninviting subway beneath the dual-carriageway, thus it doesn't get the footfall it deserves.
The church is usually approached from the south and it is this aspect that makes the biggest impression, most noticeably for its handsome south-west tower and the richly glazed clerestories of the nave (which appears to be composed more of glass than wall), all fine examples of the late medieval Perpendicular style. The length of the building is remarkable as beyond the nave is not only a decent sized chancel but a further chapel to the east as well (an early 16th century chantry chapel, formerly detached but now more integrated and in use as a parish room). There has however been much restoration owing to the fragility of the grey and red sandstones used in the construction, and thus much of the external stonework was renewed in the Victorian period (when the south chapel and vestries connecting to the chantry chapel were added). On the north side of the chancel is a handsome memorial chapel added in the early decades of the 20th century.
Entry is via the porch in the base of the tower at the south-west corner, where the visitor is greeted by a vast interior space whose lighting is somewhat subdued (especially the chancel). the nave is a classic example of the Perpendicular style and of considerable width, culminating above in the bright clerestories and a flat wooden ceiling. There is much of interest to discover here, particularly the monuments which date from the 15th-17th centuries and include several fine tombs, the earliest being a graceful canopied tomb to a noblewoman in the south aisle and a large brass on the north side. The chancel has three more large tombs with recumbent effiges to members of the Cokesey and Blount families, the latter being of post-Reformation date.
Every window of the church is filled with stained glass, mostly of the Victorian period but much of it rather good. The most handsome window is the early 20th century window by Powell's over the main entrance and there is more glass by the same studio in the nave aisles whilst the nave clerestorey has an attractive sequence of angels holding symbols of the Benedicite by Hardmans' installed at the very end of the 19th century. My first encounter with this church was in the late 1990s when working as part of the team that releaded the entire scheme of windows in the nave clerestorey, thus I got to know these angels very well. Sadly however the glass throughout this church suffers from a disfiguring layer of varnish or shellac (applied as 'blackout' at the beginning of World War II and a substance known as 'speltek' according to someone I spoke to at the church). This was smeared over most windows with a rag (the impressions of which were apparent when we worked on the clerestorey windows) and is not easily removed, but small areas where it has detached show how much brightness has been lost while the windows suffocate under this darkening layer. I hope some day the right solvent can be found to remove this stuff with minimal risk to the glass.
Kidderminster's grand parish church rewards a visit and deserves more visitors than it currently receives. It isn't always open but in recent years prior to the pandemic was generally open for a few hours on most days during the summer months (though best to check times before planning a trip). Don't be put off by the seemingly impenetrable barrier of the ringroad, St Mary's is worth seeking out and the nice people who steward their church would I'm sure like to be able to welcome more people to this fine building.
www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...
Water Tower, Bundaberg, ca. 1905 DescriptionPhotographs selected from an album presented to the Hon. J. G. Appel, MLA, Home Secretary, by the North Bundaberg Progress association as a mark of their appreciation of his efforts in connection with the abolition of the toll on the Burnett Traffic Bridge, 1st January 1913. (Description supplied with album)DescriptionEast Water Tower was built in 1902 as the first above-ground storage for Bundaberg's reticulated domestic water supply. Height 120 ft (36.6m); storage capacity 40,000 gals (180 kl); inside diameter 30 ft (9.2m); wall thickness varying from 4 ft 6 ins (112 cm) to 1 ft (25 cm). It stands on the corner of Sussex and Princess Sts, East Bundaberg and is a heritage listed building. (Information taken from: Bundaberg Tourism website, 2006, retrieved 18 April 2006, from: )
Just a silly one today, went running with a friend in all that snow yesterday and when we got back her husband and his Dad were grinning at us from out of the window and who can resist.
St Editha, Tamworth, Staffordshire.
Dean Memorial Window, 1940 - detail.
By Florence Camm (1874-1960).
To the Glory of Almighty God and in loving memory of Esther Dean who died the 11th day of October 1939. This memorial was placed here by her husband Herbert Dean.
Florence Camm spent all her life in Smethwick, running the successful Camm stained glass company with her two brothers at a time when women artists and designers were struggling to be taken seriously. Florence was a stained glass designer, painter and decorative metalworker. She exhibited 43 times at the Royal Academy in London and also showed at the Royal Birmingham Society of Artists, the Walker Art Gallery in Liverpool and the Royal Scottish Academy.
Florence was the daughter of Thomas William Camm who was born in 1839 in Spon Lane, West Bromwich. He set up the TW Camm stained glass business in Smethwick and Florence and her two brothers, Walter and Robert, continued after he died in 1912. Florence was taught stained glass design by the arts and crafts designer Henry Payne (1868-1940).
Robert died in 1954, Florence in 1960 and Walter in 1967. The firm closed at about the same time. The studio in the High Street in Smethwick was demolished in the 1980s and a shop now stands on the site.
An angel's wing beats at every window, but only the listening hear and rise. ~Muriel Strode (1875–1964), My Little Book of Life, 1912
Or is it? Looks quite different from usual stained glass.
It's tinted / coloured, anyway...
en.wikipedia.org/wiki/Whitehern
Hamilton, Ontario.
Using natural light from the windows.
no major edit - just add contrast on the eyes.
EOS 7D
50mm 1.4
Natural lighting
Explored #492 .. :)
Installed in 1967, this is the fhe first and largest of the windows designed by Marc Chagall for All Saints' Tudeley, in Kent. It is a memorial to Sarah d'Avigdor-Goldsmid, daughter of a local landowner, who drowned in a sailing accident off the Isle of Wight at the age of 21.
Combining elements from Sarah's life and death in graphic detail, it moves from despair in the dark , swirling seas of the bottom lights , to hope and the joy in the brighter colours of the top lights, where a crucified Christ awaits Sarah's arrival with welcoming arms out-stretched.
Sarah was the daughter of a Jewish father and an Anglican mother but had been brought up as an Anglican. Having a keen interest in art, she had seen and admired the Twelve Tribes of Israel windows which Chagall had designed for the Hadassah Medical Centre synagogue in Ein Karem, Jerusalem, when they were displayed in Paris prior to their installation. Her parents, therefore, decided to ask Chagall, a Jew himself but with a strong spiritual sense which crossed religious boundaries, to design the memorial window, which he duly did.
If you look on the church website you can also see one of Chagall's earlier sketches for this same window but featuring Sarah floating in a kind of sea of flowers. It's under the heading 'The window that never was' at www.tudeley.org/allsaintstudeley.htm
I cant stop making shaker cards...
I made these using the stamp set HA sent me for my HM. However, I decided to replace the sentiments for each...
HA Stamps:
CL273 - I Care Frame Messages
CL130 - Frames and Messages
CL155 - Playful Animals
CL277 - Birthday Frame and Messages
K5107 - Screen Shadow
Close-ups in my photostream or hedgehogsandladybirds.blogspot.com/