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From my visit to the Victorian Supreme Court in Melbourne I took these shots in the Public Library there.
East window in All Saints at Lullington, Derbyshire. A magnificent example of the work of the renowned Belgian Studio of J.B.Capronnier 1862.
This was a complete surprise to me, and the real treasure of this church. The medallions show various scenes from the Old & New Testaments and are superbly executed, much use being made of enamels to get the flesh tints for the beautifully detailed figures.
Sadly most of my pictures of individual scenes did not come out well, the light being poor; I could have done with a tripod and didn't want to delay the keyholder further by getting closer and more engrossed in the glass.
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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Great set of windows in the Christ Episcopal Church in Middletown, New Jersey. Lovely historical building with a very old cemetery.
Fourteenth century stained glass in one of the chancel windows at Kempsey.
St Mary's church at Kempsey sits close to the River Severn immediately south of Worcester. The church is an impressive structure dating mostly from the 13th-16th centuries, with a late medieval tower and transepts.
The most notable features inside are the imposing tomb in the chancel (which was once renowned for having a tree growing out of it!) and two windows filled with fine 14th century stained glass.
I believe the church is usually kept open, and I certainly found the parishoners very welcoming on my visit following a Sunday morning service.
For more see below:-
www.worcesteranddudleyhistoricchurches.org.uk/index.php?p...
These windows seen in "Le Ballon Rouge" (1956) still exist. This photo was taken in July 2011. (The balloon comes from the 1956 book and was superimposed here.)
This is a page from FURORE magazine #21 detailing the many Paris locations of "The Red Balloon".
More details here.
Zenit 11 with Prakticar f1.8 50mm lens; Ilford XP2 Super, C41 process.
photo-analogue.blogspot.com/2018/09/ilford-xp2-super-part...